All I know is, spending the day mostly chilling by the tube was very... calming. I know there's so much to do - and so much to say - but on this, the first day off in 8, chilling (in sticky heat) was the first order, and, apparently, a long one.
Still, I can get a post out of it! A few notes on the films I slogged through:
The Godfather Part II - AMC is, inexplicably, pairing up repeats of Mad Men with a daylong run
of the three Godfather flicks. I've actually never watched Godfather Part 2 all the way through, and today was no exception, though I saw enough to realize that this fascination with the mob is old as the hills, and less illuminating, in some ways, than I think critics - especially the ones who cut their teeth on seventies realism - like to suggest. Which is to say, I think Coppola's mastery of mise-en-scene is amazing, but the story he's telling is from a tremendous distance, and its iciness isn't doing him any favors. Though looking at the breadth of actors - Pacino, DeNiro and Keaton in particular - turning in surprisingly restrained performances... perhaps he's onto something. While I found myself ticking off any number of echoes that show up in the Sopranos, I also think David Chase infused the Sopranos with a passion onscreen that Coppola only hints at. More recent films, really, are the ones that have infused gangsterism with sheer sexiness, for both good and ill effects. But I suspect the deeper truth is that sense of sexiness is what mobsters see in themselves.
Barcelona - I probably have not mentioned yet my love of Whit Stillman, but he may be the filmmaker I most deeply admire for having a vision and seeing it through. Barcelona is part of a triptych of films (Metropolitan, one of my all time faves, and Last Days of Disco, also brilliant, fill out the trio) that trace a related group of characters through youth to adulthood. Taylor Nichols and Chris Eigeman play cousins living and working in the
title city, dealing with expatriate feelings and falling in love with Spanish women. Stillman's film are marked by his Upper East Side preppy roots - Eigeman, particularly (who was in all 3 films), embodies the mix of snobbery and down-to-Earth realism that marks Stillman's work. I'd also forgotten turns by Thomas Gibson and character actor Jack Gilpin . And, happily, like the others, Barcelona holds up amazingly well, like a classy old novel.
EdTV - I happen to think this Ron Howard film is an underappreciated gem - Matthew McConaughey is both gorgeous and restrained as the lead character, a slacker dude who winds up on a 24 hour reality show of his own life. Howard makes some surprisingly effective points about what the intrusion of cameras into our lives says not just about the participants, but about the audience. And as the lonely TV exec who makes Ed a star, only to become disillusioned with the monster she's created, Ellen DeGeneres probably has the role that made the best use of her acting skills and her subtle way with humor. See it if you ever get a chance.
Miss Congeniality - By this point, I knew I was just pushing my luck, but it's fun to go back to those moments when Sandra Bullock seemed the heiress to the light comedy heroine mantle after years of patient waiting. If she hasn't exactly turned out the way we expected (I loved her in Infamous, doing more and better with the Harper Lee part than Catherine Keener in the dismal Capote), I think we haven't seen all she can do just yet. That, along with the sly enjoyment Michael Caine brings to his work, and the eye candy qualities of Benjamin Bratt (his discomfort with leading man status is palpable) continue to make this film great fun. But I didn't bother tostay til my favorite line, when Miss Hawaii says backstage "You're a Don Ho."
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