Halfway House: Mercury Poisoning

halfway through the day, stop a movie halfway through. What do you see?

About 45 minutes into the soon-to-be Oscared documentary The Cove, we pause for a lecture on mercury poisoning. Basically it goes like this: dolphins swim in a toxic dump site, their bodies have too much mercury in them, it's not safe for us to eat them. Ewww times two. I don't like to think about toxic dumps or dolphin-eating.


I totally didn't need to know that dolphin meat was poisonous to be convinced that they shouldn't be eaten, thank you very much.

I have all sorts of issues, defendable and otherwise, with documentaries each year. It's difficult to explain but I'll try. With narrative filmmaking I feel like I'm mostly aware of what I'm watching and of how the movie is choosing to approach its subject and tell its story. With documentaries I often feel like I'm behind some invisible curve and without a ton of research on my own I have no clue in which ways I'm being manipulated and what is being left out of the argument or shoehorned in. What I'm reacting to, then, is not the filmmaking so much as the subject matter and spin. I'm guessing Oscar voters are this way too since they're choice of "best" each year is noticeably dependent on the likability or "importance" of the subject matter. I wholeheartedly endorse the likeability of dolphins and the importance of not killing them but I didn't always know if the movie was great.

The movie made me feel guilt above all else: Guilt for loving dolphins (our mass love of the ever-smiling animals has inadvertently caused the captivity and slaughter problem), guilt for being squeamish (I literally couldn't watch the damning slaughter climax. I left the room just like I did at the dolphin killing scene in White Squall many years ago) guilt even for previously hating Hayden Panetierre (!). Her appearance took me by surprise because I tend to ignore the pockets of pop culture that follow the every move of bad actors or tv stars. I had no idea that she was actually an activist, bless her. The shot of her dismay when she realizes she can't save the dolphins is the only time she's ever made me feel anything onscreen. I can't even talk about I Love You Beth Cooper. Don't get me started.

When The Cove wasn't making me feel guilty it was celebrating my love of cute animals and my love of the power of movies. Movie making technology plays a heroic role here and The Cove itself hopes too. Both of those realities will lock it in for an Oscar win, I think, no matter what its competition turns out to be when the nominees are announced in February. Because who in Hollywood wouldn't like to think of the movies as a force of good in the world?
*

Halfway House: Sell it to the Highest Bidder

Halfway through the day freeze a movie halfway through. What do we see?

I haven't done a bang up job keeping track of Olivier Assayas career. Quelle dommage. I had loved two of three films of his that I'd seen. Clean, about the misadventures of a recovering addict rock star (Maggie Cheung) did little for me but the diamond hard Demonlover and the layered Irma Vep (also with Cheung) both thrilled me. After numerous reader pleas, and the not so minor matter of those NYFCC and LAFCA foreign film prizes, I finally got around to L'heure d'été / Summer Hours (2009). It's three for four now.

51 minutes into Summer Hours, pragmatism triumphs over sentiment.

Halfway through this rich film, the three heirs to a family fortune decide to sell all of their newly departed mother's estate. It's largely composed of furniture, art and real estate. Their decision may make absolute real-life sense but -- Metaphor Alert! -- they're basically selling their childhood, their memories, and possibly France itself because they just can't be bothered with it... they're busy, OK!? Adrienne (the typically excellent Juliette Binoche) and Jérémie (Jérémie Renier) both live and work abroad and are very much citizens of The (Global) Corporation rather than of France.

At times I worried that the screenplay was a little too on-the-nose about all of this larger meaning but as the film unspools, Assayas's direct candor about his actual subject matter becomes refreshing. As The Boyfriend said to me afterwards "Wow. How many films do you ever see about Cultural Patrimony?"

Not many.

This centerpiece scene ends with the camera tracking the wife of the eldest sibling who leaves the room to find her husband Frédèric (Charles Berling), who quietly excused himself earlier. She finds this eldest and most sentimental family son sitting in their dark bedroom, alone. We already know he's heartbroken: his memories, mother, and siblings are drifting ever further away. But Assayas's cooly intelligent and ineffably sad movie never allows itself to drown in simple sentiment.

Frédèric's Wife: Are you crying?
Frédèric: Don't be ridiculous

Fade out. *

Halfway House: Robin Coming Back to the Hood

halfway through the day, stop a movie halfway through. What do you see?

Getting way ahead of it all but my thoughts drifted off to 2010 this morning and what movies await. I'm mildly curious about what Ridley Scott, Russell Crowe and Cate Blanchett will bring to the millionth version of Robin Hood (2010). What is there to add? What angle can feel fresh? So out of curiousity a quick peek back at Kevin Reynold's 1991 blockbuster Robin Hood: Prince of Thieves which I've always disliked, primarily for its lack of tonal cohesion and for its absurd length (155 minutes to tell a story everyone knows by heart already?) But I understand some people love it.

Speaking of quick peeks, 77 and ½ minutes in Maid Marian (Mary Elizabeth Mastrantonio) gets one.

Offscreen Voice: "I told you you can't go down there!"

What's causing her astonishment down there? Why it's Kevin Costner's infamous butt double!!! Why any star would need a butt double for a scene filmed in long shot through a waterfall is a head scratcher. Eighteen years later it's still a prudish mystery.

Will Cate's mouth go similarly agape for Russell's arse in the next version? We'll find out in 159 days.
*

Halfway House: Kristen Stewart Has a Sh** Life, Okay?

Halfway through the day, pause a movie halfway through. What do you see?

Every life choice has its ups and downs. So goes the life of the actressexual. If you champion and obsess over actresses as I have since I was a little boy then every, oh, three to five years you will experience the superstar rise of an actress that you find unsupportable and that you wish the rest of the world would get over. Behold my 2007-2010 model: Kristen Stewart.

53 minutes into Adventureland, Kristen craps on Jesse

Jesse Eisenberg: I think you're incredible.
[pause. inhale]

Kristen Stewart: There's a lot of shit in my life.

I'm not ready for this...

There are many reasons to hate Kristen Stewart so she didn't really need to add taking a dump on adorabnoxious Jesse Eisenberg's dreams to the list. Since the Twilight movies have taken over the world, we will surely be seeing Kristen Stewart in dozens of movies over the next 5 or 6 years. She'll be in demand for every role for a twentysomething.

I'm not ready for this.

How will I tell one character from the next what will all the shoulder shrugging, painful intakes of breath, hair stroking, and general twitchiness that define every Stewart performance? Someone help me see things differently because I know I'll be seeing a lot of her. What am I missing? Please tell me that she'll at least play Joan Jett differently than this because I really want to enjoy The Runaways next year. I love Joan Jett. And I don't really remember her as the mopey, shrugging, self-loathing sort that Stewart specializes in.

So, no wonder that Eisenberg runs to the arms of "Lisa P" (Margarita Levieva) in Adventureland. Anything to break the monotony of Kristen's mannered & mopey miserabilism. As for the movie itself, I'm glad that some people found it so moving and worthwhile but I felt largely indifferent to it, though I did admire its partial commitment to languid summer moods and the tiny sparks of humor. And I liked Lisa P and her bestie dance partner Kelly. Loved the T-shirts, too. And the Giant Ass Panda. I'd pro'lly cheat to win one of those, too.
*

Halfway House: Hoop Dreams

The universe has conspired against me this week in various ways to admit this shameful confession: I have never seen Hoop Dreams, the one that always makes Greatest Documentaries and Worst Oscar Snubs lists. I can't really explain this except that my ears are allergic to the sound of shoes squeaking on gymnasium floors, which is like the omnipresent soundtrack of basketball. And it's as proud and loud as anything John Williams or Philip Glass would ever write. I hate that sound.

Out of curiosity I skipped to the movie's halfway point... 85 minutes in. Some older men are discussing which schools are most "involved" and then a young basketball player talks about the points he scored while mimicking scouts watching him. Then he eats pizza (mmm) with fellow players.


I'd quote it since he seems like an endearing character, this #41, but his accent is halfway impenetrable to me... probably one of those things where if I was watching the whole movie I'd be able to pick it up without a problem (like Trainspotting fr'example). I have only a vague clue what's going on but there does seem to be a lot going on and organically so.

I feel guilt about never having seen this. You can't see everything but you should obviously see the canon entries of each genre. Have you seen Hoop Dreams? And, if you have, are you horrified at my negligence? Berate me in the comments or join in the sheepish guilt.
*

Halfway House: Merryweather Knows Best

halfway through the day we stop a movie halfway through. What do we see?


37 minutes into Sleeping Beauty, one of the greatest fashion decisions in all of filmdom occurs. Behold the wisdom of Merryweather.

blue

So much better.

If the cinema had existed in the 14th century Merryweather would have become the next Edith Head. If only she could serve as a judge on Project Runway.
*
*

Halfway House: Child Stars Are Demonic

Halfway through the day we stop a movie halfway through...

Oh, Christine. Gin and tonics won't help you forget your demon child!

Sixty-four minutes into The Bad Seed (1956) Christine Penmark (Nancy Kelly) tries to disguise her concerns about her daughter's malevolence under the pretense of research for a murder-mystery she's writing (Fail: She isn't even a writer!). Unfortunately family friend/criminologist expert Mr. Tasker (Gage Kelly) doesn't exactly allay her fears.

Bad Liar: The...uh... question that I wanted to ask you is a psychological one. I doubt that it's been asked or answered, if it has, until recently.

Oblivious Man: Well, I may not know all the answers.

Bad Liar: Well perhaps no one does. This...story that I'm thinking of writing made me wonder. Tell me, do children ever commit murders? Or is crime something that's learned gradually and grows as the criminal grows so that only adults do really dreadful things?

Oblivious Man: Oh, yessss. Children often commit murders... and quite clever ones, too! Some murderers, particularly the distinguised ones who are going to make great names for themselves start amazingly young.

Bad Liar: In childhood?!?

<--- Rhoda (Patty McCormack) is eeeevil. What is a mother to do?

This scene goes on and on and even repeats its exposition and thesis over again once a third adult character enters the room. 'As we were just saying...' Ha!

Stilted acting and underlined expository conversations are a true joy in the right context (i.e. old movies), aren't they? The american fascination with Psychology in the 1950s produced so many great and great/bad movie moments. I can't wait to see what StinkyLulu and crew say about this movie's two supporting actress nominees (Eileen Heckart and Patty McCormack) on Halloween weekend, can you?
*

Halfway House: The Failed Completist

halfway through the day, we freeze a movie halfway through

Confession time: I still have not seen Personal Effects, Michelle Pfeiffer's second recent straight-to-DVD mishap, the other being I Could Never Be Your Woman (see previous post). In both films the goddess has a relationship with a much younger man.

55 minutes into the movie, Pfeiffer hits on an unresponsive near
silent Ashton Kutcher. What's wrong with him?

As one of the web's most notorious pfans, you'd think I'd be more of a completist. But I am so scared to watch it. I don't know why. It's not like I've never seen her in a disposable movie before. For all I know it's good (I scanned to the middle... having still not overcome my fear). Aside from this picture, I have only a few gaps in my Pfandom. I haven't seen any of her TV work prior to moving permanently to featuers in the early 80s and I have never been able to find her third feature film Charlie Chan and the Curse of the Dragon Queen. Other than that I've seen it all.

This failing completist urge got me to thinking: How often do any of us see the complete works of a given actor or actress? The closest I've come is Julianne Moore. I've seen her one Broadway role, I've seen her short film Not I (previous post) and I've seen each and every one of her films (and believe me that was a sacrifice on my part. Just sayin') ...except two: her cameo in The Ladies Man and her straight-to-DVD film Marie and Bruce. There's always something.

Is there any actor you've seen literally everything of? If you missed this "completist" impulse, you should probably be grateful.

Halfway House: In the Mood For a Nap

halfway house halfway through the day, we stop a movie 'bout halfway through... what do we see?

49 minutes into In the Mood for Love: a sticky rice snack and short nap

Mrs. Chan (Maggie Cheung) and Mr. Chow (Tony Leung Chiu Wai) are eating sticky rice, killing time until the coast is clear and she can leave his rented room. They haven't cheated on their spouses (who never appear in the movie) but they're obsessed with appearances

Mr. Chow: What would they assume?
Mrs. Chan: One can't put a foot wrong

...and with good reason, too. It's not hard to read their love, however languidly they try to sidestep it. Director Wong Kar Wai, his art director/costumer (William Chang) and cinematographers (Christopher Doyle and Pin Bing Lee) are also obsessed with appearances. The beauty of this movie can render one speechless.

In the Mood For Love just aches with longing throughout. Every time I see this couple I just want them to tear each other's clothes off and pretend they're in Lust, Caution instead. They're so painfully separated even when they're sharing a frame. It's a heartbreaker and one of the masterpieces of the decade.
*
*

Halfway House: Moses Supposes

halfway house halfway through the day, we stop a movie 'bout halfway through... what do we see?



As you may have noticed, I tend to get hung up on film structures and timing. Not sure why but I live for opening scenes, I'm totally enthralled by filmmakers who can stick landings (i.e. the ending -- so difficult) and sometimes I just get hung up on random timed ideas like 20:07, first and last or Halfway House.

Using Singin' in the Rain for a screenshot series is kind of like cheating because every single thing about it is delightful.

"AAAAAAAAA" Donald O'Connor and Gene Kelly sing, 51
minutes into the most purely pleasureable 102 of film, ever.

I love the "Moses Supposes" number for the electricity of the dancing but I always thought it was so weird that the boys decide to bury their vocal coach in random props to end the number.

Now I propose that this pile-up is merely a neat coded illustration of the movie's generosity. Stanley Donen and Gene Kelly literally can't stop themselves from entertaining you. In most movie musicals "Moses Supposes" would be an unquestionable highlight. Here it's just a break inbetween (and simultaneously about) the movie's best recurring gag: Lina Lamont's inability to speak. Consider and marvel that "and I caaaann't stand 'em" comes immediately before this dance number and Lina and Don's hilariously disastrous 'Recording in Session' immediately follows it. This movie is all about piling it on. No breaks. Unless they're wildly entertaining dance breaks.

It's not an "AAAAAA". It's an "A+"

Halfway House: Burt Reynolds and Deliverance

It's not one but two season debuts in one post as the Fall season of TFE kicks off. Your favorite series return every day this week. Enjoy.

monday monologue showcasing fine combos of actor & screenplay
halfway house (series premiere!) halfway through the day, we stop a movie 'bout halfway through... what do we see?

What to do with a dead body... what to do? That's always a (movie) question. Fifty-three minutes into the classic Deliverance (1972), the shit has hit the fan or, rather, the men have already squealed like pigs. Four increasingly unhinged friends are now freaking out over the fresh corpse in their midst. Drew (Ronny Cox) in particular wants to be done with their time in the woods and turn things over to the law. Burt Reynolds has the answer (as well as an unforgettable rubber vest but let's not get distracted) in arguably his greatest role.

You let me worry about that, Drew. You let me take care of that. You know what's going to be here, right here? A Lake! Far as you can see. Hundreds of feet deep. Hundreds of feet deep!

Did you ever look out over a lake? Think about something buried underneath it. Buried underneath it!

Man, that's about as buried as you can get.

It must have been tempting to film Burt's take-charge moment entirely in tight sweaty closeup. That's exactly what a modern filmmaker would do, beholden as they now all are to constant closeups and the TV-centric emphasis on the dead center of each frame, as if stardom can't be grasped if more than one person inhabits any frame. Thankfully, director John Boorman, his Oscar nominated editor Tom Priestley and the great cinematographer Vilmos Zsigmond trust that alpha male star Burt Reynolds doesn't need any help in seizing the scene.


Instead we get a riveting creepy mix of longshots, closeups, and slow pans which never let's us forget any of the players, their specific relationships to one another ...and especially the unsettling constant presence of that intruding body, draped inelegantly across a tree branch.
*

Halfway House: Donkey

When a movie doesn't work for my first and last series -- sometimes the movie star's mug will be the first thing you see or the last (or both) -- I'm gonna use it elsewhere when it's amusing. SPINOFF SERIES ALERT!

Screenshots from halfway through the movie in question. We're about sixty-six minutes in for this one.

Look, he's my donkey!

This made me guffaw when I jumped to the halfway point of the DVD. See, Jesus cured this little crippled boy but he seems more excited about that ass than his newly working legs. Regardless, Richard Burton is so impressed you can totally tell he's going to convert to Christianity even though it will cost him his life. At the end of The Robe [*SPOILER*] Burton will walk up into heaven while a chorus sings "Hallelujah".

Subtle!

Richard Burton and Jean Simmons ascending