It’s to be expected that Pain And Glory would get a huge turnout at the VIFF. Pedro Almodovar is a darling of the arthouse film world. The buzz is this time, he’s reuniting with Antonio Banderas for the first time in over 30 years. Is it worth the hype?
The film is told by the first-person view of film director Salvador Mallo. Salvador is in a pool meditating alone. He has had open-heart surgery in the past. He’s had issues involving both his family and his sexuality in his past. He became renowned through his breakthrough film Sabor– a still beloved in its current remastering — but considers every film since to be a failure. He’s also had issues with back pain and other medical issues. All of this has caused a struggle to get inspired again with filming. He knows he has to, but he can’t. Not even as his landmark film Sabor (‘flavor’ in Spanish) has been remastered and re-released.
Over time, he learns he has to make peace with his past. He first reflects back to his childhood. His mother was the biggest influence in his life. As a child, he was a dreamer and his mother always fancied him to be one. He did great in academic studies, but he had a love for singing and a special love for movie stars. He was sent over to a convent school; something that was of great expense to his mother. However he also reflects to the last days he was with his mother. He was so consumed with his filmwork and his writing, he was negligent to his ailing mother. He did however promise he would take her back to the countryside where she could spend her last days, but she died before he could.
As his film Sabor is being re-released and even shown to film enthusiast, he reunites with Alberto Crespo, the lead actor of the film. Mallo hasn’t spoken to Crespo in 30 years because of his perceived ‘bad’ performance in the film. Crespo is not happy to see him, but gets Mallo into smoking heroin. During his heroin-smoking, he’s able to recount some of his memories. One is of the time in his childhood when his parents had to move into a whitewashed cave house because of how poor they were. The mother hired a laborer to repaint the inside. As part of the deal, Salvador is to teach the illiterate laborer how to read and write.
Another flashback of past memories comes during a Q&A during a screening of Sabor. Mallo, at Crespo’s house at the time, is too down to attend, but corresponds with the crowd through Crespo’s phone. Crespo is able to tell the crowd of some of the wonderful memories of the 80’s and talks of Federico: Mallo’s boyfriend at the time. Federico is in the crowd and responds. That infuriates Mallo and he responds to Crespo violently. It just reminds him it’s another past memory he has to come to terms with. Mallo loved Federico and the two were almost inseparable, but Federico had a bad drug addiction at the time and Mallo had to end the relationship. The heroin abuse Mallo is addicted to is very similar to the struggle Federico went through during their time together. Eventually Federico and Mallo reconcile during a dinner. He learns Federico has sobered up since, moved to Buenos Aires, married a woman and fathered three children.
Over time, Mallo needs to recover from his own drug addiction and have further check-ups on his throat which causes him to choke for no reason. He knows his time is very limited, or feels strongly that it is. His assistant gives him tickets to an opening to an art gallery. Over at the opening, Salvador notices a drawing of a boy sitting with a book. That drawing isn’t any child. It’s Salvador! It then reminds him of the time in Salvador’s childhood the laborer was drawing a picture of Salvador sitting with a book as a thank-you gift. Only his mother would later hide the drawing without Salvador’s knowledge. After the laborer finished, he needed to bathe. Salvador left to lie down in the bed from all the heat, but woke up to get the man a towel. When he saw the laborer naked, Salvador had a look of delightful surprise and fainted. The laborer thought Salvador fainted of heat stroke.
Soon Salvador is able to buy the drawing and he sees the thank-you message from the laborer on the back. His assistant recommends Salvador to find the laborer through a Google search, but Salvador feels it’s not worth the bother. Soon Salvador does go for the surgery to get the growth removed from his throat. The film goes to a scene to Salvador’s childhood of him with his mother waiting for a train during a village fiesta and watching the fireworks in awe. Only it’s not a flashback. It’s a scene from a film Salvador is directing about his past life. His desire to film has returned again!
When one watches the film, one can easily wonder if this is a film meant to be autobiographical of Almodovar himself? The life of Salvador does seem to mirror Almodovar’s own life in many ways. Pedro himself fell in love with films and movie stars as a child He was sent to a religious school as a boy in hopes of becoming a priest and was abused. Pablo is openly gay, and of course became a renowned film maker. Even the falling out between Salvador and Crespo is actually symbolic of the falling out between Almodovar and Banderas. However there are a lot of differences between Salvador and Pedro. Salvador appears to be born around 1960 while Pedro was born in 1949. Salvador is an only child raised by a mother and father who’s rarely there while Pedro was one of four raised by both parents; his father being alcoholic. Salvador appears to have had one masterpiece film while Pedro has had decades of masterpiece films. Also while Salvador appeared to lack inspiration and the drive to make films after illness and physical setbacks, Almodovar appeared to continue well.
Nevertheless it still gets one thinking. The film got me thinking does Almodovar see Women On The Verge Of A Nervous Breakdown, his breakthrough film outside of Spain, to be garbage or the bane of his existence to him? Artsy types are so full of self-loathing! Also I have not been too familiar with Almodovar’s health problems. I have not known of any health problems happening to Almodovar. If there are any problems, they have not been made too public. Almodovar has made his back problem open recently, but did he ever have that throat problem? And the drug addiction. I know addiction is common in Almodovar films, but I haven’t heard of Almodovar addicted to heroin smoking.
This film may not be the best film Pedro Almodovar has done, but it has to be his most personal. There are a lot of similarities between Salvador and Pedro. There are also some that become questioning. Was Almodovar ever hooked on heroin? Is Almodovar envisioning what he could have been if he were a one-hit-film-wonder? One thing about Almodovar’s films is that he doesn’t just tell a story. He creates a lot of moods and images as if he’s paining a cinematic portrait. He tries to get us to feel the characters, feel the moments, feel the emotions. He has the ability to romanticize even the most bizarre moments. Even a man who impregnates a comatose woman (in 2002’s Talk To Her). This film is no exception. He helps us see the story through the eyes of Salvador in both his flashbacks and of the present moment, and romanticizes it. This is another accomplishment for Almodovar. It’s no wonder he’s become a film festival darling.
The funny thing of the film is that the flashbacks of Salvador’s childhood appear to be flashbacks. However it’s at the end that we learn that the flashbacks of his childhood we see are the flashbacks intended for Salvador’s new film. Filming within a film. That should have been apparent when there was Penelope playing the younger version of the mother in the flashbacks while the older mother had blue or green eyes. It made you wonder how did that happen? Now you know at the end.
The film also marks a great return to Almodovar collaborating with Antonio Banderas. Those of us in North America remember how he became a huge movie star in the 1990’s. What many did not know is that it was through Almodovar’s films that Banderas had his breakthrough. I still remember how he played a husband in Women On The Verge Of A Nervous Breakdown. Banderas actually acted in five of Almodovar’s film before breaking into the US upon the release of Mambo Kings. It appears like both made the other’s success. Here they reconnect and Banderas delivers what could be his most intimate, if not his best, acting performance ever. He does an excellent job of adding dimension to the character of the filmmaker in all of his joys, his hurts and his passions. Also Banderas isn’t afraid to show the surgery scars from his own open-heart surgery here.
Asier Exteandia is also good at the actor Crespo who is able to make peace with him, albeit turbulently. Also a delight to watch is Asier Flores as young Salvador. He added to the light-hearted parts of the film and even added some comedy too. The score from Alberto Iglesias helps dd to the feel to the film. Iglesias has contributed to the scores of many of Almodovar’s films and he does a great job of it again here.
The film could do well at this year’s Oscars. For the Cannes Film Festival, it was nominated for the Palme d’Or and won Best Actor for Banderas and Best Soundtrack for Iglesias. The International Cinephile Society gave the Prix Du Jury award to Almodovar and the Best Actor award to Banderas, and Banderas also won Best Actor at this year’s Hollywood Film Awards. This film is also Spain’s official submission to the Oscar category of Best International Feature Film; the seventh Almodovar film to be Spain’s official entry in this category.
I wouldn’t say Pain And Glory is worth the hype, but it is a very unique story. It almost autobiographical in some ways. Even if it’s not completely autobiographical, it makes a good story all its own.
If there’s one movie that’s had its box office results significantly after the nominations, It’s The Revenant. If you’ve seen it already, you’ll easily see why it could have done excellently even without the Oscar buzz.
It’s 1823 in an unsettled wilderness part of the northern area of the Louisiana Purchase. A group of trappers under the command of Captain Andrew Henry search for pelts until a surprise attack from Arikara Native Americans kills many from the camp and cause the survivors to flee on a boat. Part of the camp is Hugh Glass who is on friendly terms with the Natives–even being a widow to a Native American woman and fathering their ‘half-breed’ son Hawk who’s part of the camp– and knows the area well. At Glass’ recommendation, they abandon ship and walk on foot to return to their outpost Fort Kiowa. This does not settle well with some of the trappers including John Fitzgerald who has a hostile attitude towards Natives after being scalped years ago. He is noticeably hostile to Hawk.
Glass scouts ahead alone for a while but he is mauled by a mother bear protecting her cubs. The attack is brutal and Glass is severely mauled but he’s able to stab the bear. The other people in the camp find Glass but doubt his chances for survival. Henry commands to three men in the camp–Hawk, Fitzgerald and the young Jim Bridger–to stay with Glass until he dies and give him a proper burial. Fitzgerald tries to smother Glass when alone but Hawk stops him. Unfortunately stabbed is killed by Fitzgerald as Glass can only lie and watch. Fitzgerald attempts to bury Glass prematurely but stops when he sees Bridger flee and follows.
Abandoned with only a canteen, Glass is somehow able to survive and slowly heal. Days later, he’s able to heal to the point he can move, then crawl, then walk. As he heals he’s haunted by visions of his deceased wife. He even sees visions of her as he comes across an abandoned church. However he also has to deal with the Arikara whose chief is searching for his kidnapped daughter Powaqa and trusts no white man.
Both Fitzgerald and Bridger are heading to Fort Kiowa but Fitzgerald scares Bridger into being fully under his control. One at the Fort, Fitzgerald tells Henry that Glass died and Hawk was attacked by the Arikara. Henry gives both Fitzgerald and Bridger a cash reward. Fitzgerald accepts without guilt but Bridger refuses.
Glass encounters Hicuk, a friendly Pawnee who gives him food and shelter and helps him along the path back to Fort Kiowa. Hikuc has also lost his family. Upon hearing from Glass his intent for revenge, he tells Glass “Revenge is in the Creator’s hands.” The day after the blizzard, Glass wakes to find Hikuc hanged by French pelters. Not only that, he finds Powaqa being raped by leader of the French pelters. He’s able to kill the two leaders and free Powaqa but has to escape with Hikuc’s horse and Bridger’s canteen. An ambush by the Arikara causes Glass to flee on horse only to fall off a cliff. Glass survives but the horse is dead. Glass uses the horse’s carcass as a shelter overnight.
Meanwhile word has gotten around to Fort Kiowa that Glass is in fact alive. This is known as a French hunter brings Bridger’s canteen there. Henry however thinks it’s stolen from Hawk and organizes a search party but Fitzgerald knows the truth and flees. Henry finds Glass alive in the search. Infuriated, he charges Bridger with treason after returning to the Fort but Glass insists it’s all Fitzgerald’s doing.
The operation then goes to find Fitzgerald and bring him to justice. Henry however is caught by Fitzgerald in an ambush and is killed and scalped. It’s now up to Glass who hatches a plan to finally get his revenge. It works in catching Fitzgerald and having him shot but not without Fitzgerald being able to run off. It then comes down to a fight between the two for Glass to get his revenge. It ends with Glass making a decision and an ending we’re all left to decide for ourselves Glass’ fate.
Now just to get things straight, this is not the true story of Hugh Glass getting revenge on John Fitzgerald. In fact historic documentation shows Glass let Fitzgerald live because he knew the heavy penalty of killing a soldier in the U.S. Army. Fitzgerald became a soldier in the U.S. army and was stationed in Fort Atkinson, Nebraska. Fitzgerald did give Glass his rifle back.
This film is actually a revenge story adapted from the 2002 novel The Revenant: A Story Of Revenge by Michael Punke. I think the focus of the film is more about telling the story than it is about retelling history. I have not read Punke’s novel but I’m sure that was how Punke would have wanted Fitzgerald to face the music upon abandoning Glass to die. There is actually very little information about who John Fitzgerald was or even what type of person he was in real life. We have the historical documentation of what happened to Glass and what happened in his pursuit of Fitzgerald but not much else. The novel was not only Punke’s chance of creating his own revenge fantasy in Fitzgerald but giving Fitzgerald a character of his own. The film helps Punke’s story come alive and even paint a picture of Glass, Fitzgerald, the times, the terrain and the domain of all that happened.
This revenge story is not your typical revenge story you’d see in your typical Hollywood movies or even from the likes of Quentin Tarantino. This revenge story is also a story of survival and also shows a human side of the perpetrator Hugh Glass. Yes, he was as tough as a frontiersman and a trapper of the time should be. However he did have a soft side. He still has feelings towards his deceased wife who was a Native American woman and he truly loved his son despite others seeing him as a ‘half-breed.’ He also had to be tough as he needed to survive the brutal bear attack and recover from his wounds in order to pursue Fitzgerald. He also had to develop the will to live knowing that his son was killed by Fitzgerald. He also had to be right in his mind in deciding what he had to do to Fitzgerald in the end.
I will admit there were times when I questioned if this film was becoming too much of a tall tale. One example is when seeing Glass pursue Fitzgerald in what appeared to be just days before his attack. I often asked: “Would someone who suffered such a brutal bear attack recover in that fast of a time?” Even that scene where Glass and his horse fall off a cliff. The snowy tree broke Glass’ fall and helped him live without any severe bodily damage but the horse died. That scene also had me scratching my head. Maybe those scenes and the elapsed time were also part of Punke’s novel. Nevertheless it still had me questioning its believability.
First off I’d like to give respect to Alejandro Gonzalez Inarritu for delivering an excellent movie. He may be renowned for his ‘filmwork’ but here he takes his first steps in directing a movie intended to draw big crowds while still maintaining some top film making qualities. Very little was compromised and the end result was excellent as it both succeeds as a film and as a movie. I’ll admit I was unhappy about Birdman winning Best Picture last year because it didn’t give much for a film audience to either enjoy or appreciate. Yes, it had top-notch acting, directing and scriptwriting but who truly enjoyed it? This is ten times more enjoyable while still maintaining top acting and directing. Yes, there were some scenes that can scare many. In fact I’ll admit the film made me hope I never walk in the woods again. Nevertheless it was a very good movie full of drama and thrills. As I said, I have never read Punke’s novel but the script Inarritu co-wrote with Mark L. Smith definitely makes the novel come alive. I know the script was not nominated for an Oscar. However the unspoken scenes in the movie told as much as the scripted scenes.
The film would simply be a popcorn movie if it weren’t for the acting. Leonardo DiCaprio did an excellent job of Hugh Glass. He said a lot especially in the scenes where Hugh Glass was unable to speak. His performance was as much about telling a lot through physical actions as it was through dialogue. Hey, it’s been said 80% of communication is non-verbal and Leo was able to say a lot in those scenes. That’s why I’d be shocked if he doesn’t win the Oscar. Also just as excellent is Tom Hardy. He didn’t play your typical rotten-to-the-core villain. He gave John Fitzgerald some fears and insecurities to the role and conveyed them well. Nevertheless he also made Fitzgerald hateable as a remorseless villain who even calls the dead Hawk a ‘pussy’ in Glass’ face. Additional performances of respect include Bill Poulter as Jim Bridger, the young trapper who possesses the conscience Fitzgerald lacks, and Forrest Goodluck as Hawk.
Additional qualities of acclaim is the cinematography from Emmanuel Lubezki, the costuming by Jacqueline West including its use of furs and hides, the film editing by Stephen Mirrione, the visual effects including that of the bear attack, the excellent use of both natural settings and constructed sets that fit the times and scenes perfectly and the film’s score by Ryuichi Sakamoto, Carsten Nicolai and Bryce Dessner.
An additional note. I also give the film respect for its treatment of Native Americans. I may have been a baby when Sacheen Littlefeather refuted Marlon Brando’s Oscar on his behalf and spoke of his protest to the on-screen depiction of Native Americans or First Nations peoples as Canadians commonly refer to them as. However I already know of Hollywood’s past and how they’re famous for shelling out ‘cowboys and indians’ movies from decades past. I can completely understand why Brando would have been angry with that depiction as Brando has had a history of activism in the 1970’s on behalf of people of various races. I will admit Hollywood has been better at its depiction of indigenous Americans from films like 1990’s Dances With Wolves and even the character of Chief in One Flew Over The Cuckoo’s Nest that was shown in theatres a mere three years after Brando’s Oscar protest. I’m sure there are some people that can spot imperfections in Hollywood’s current treatment of Native Americans including in this film but I found it hard to pinpoint a scene that was insulting to them. Sure there were battles with tribes and there were bigoted attitudes among many white characters but there were many positive Native American characters in this movie. In addition the main protagonist Hugh Glass had positive interaction with the Native people including marrying one and treating his son with love while many despised him as a ‘half-breed.’
The Revenant isn’t just a dazzling movie. It’s one that will keep you intrigued from start to finish and not know what to expect next.
Mexico has delivered a lot of unique films over the years. One such film that has caught festival attention is Güeros which is filmed entirely in black and white. It makes for a unique story and a unique message within the story.
The film begins with Tomas, a young teenager from Veracruz, getting in trouble for tossing a water balloon off the top of his apartment. It lands on a baby. The baby’s fine but the mother’s had it with him and sends him to his student brother in Mexico City. There he meets his brother Federico, nicknamed ‘Sombra,’ who is supposed to be in university but the college is under strike for five months and has become almost threatening territory. Instead he lives in an evaded apartment with his friend Santos. One of the first things Santos notices is how Tomas is unlike his dark-skinned brother. He’s a Guero: a Mexican of light skin and hair. The apartment they live in is without electricity until Aurora, a mentally impaired girl in the suite down below, hands them an orange cord to steal electricity. It’s not easy for Sombra especially since the nights are cold and he has a hard enough time trying to sleep with the images of tigers in his mind because of his panic attacks but he has put up with it since the beginning. Their one getaway is the car but Sombra is too nervous to leave. Possibly because of his panic attacks.
Tomas already finds the first few days frustrating with limited time for electricity and relying on his Walkman to hear the music of Epigmenio Cruz and his camera to take pictures whenever he wants to. Epigmenio Cruz is no ordinary musician to the boys. He was a musician that ‘made Bob Dylan cry’ and almost launched Mexican rock into the mainstream. Then Tomas reads that Epigmenio was admitted to the hospital with cirrhosis of the liver. Tomas wants to meet him but Sombra won’t let him. Tomas then leaves in a fit of anger, especially after three hellish days of living with what Sombra puts up with. To make matters worse, the neighbors down below find out Sombra’s scheme to get electricity and the father chases after them. It’s then that they finally find Tomas who left to find Epigmenio. Sombra’s reluctant to leave the apartment but agrees to do so temporarily. It’s in the trip to the hospital to find Epigmenio that Sombra’s panic attacks come back.
At the hospital, they don’t find him there. They know he’s still alive but information of his whereabouts are kept secret. In the pursuit to find Epigmenio, the three boys first encounter a gang of thugs. Fortunately they leave before they could get into any more trouble. Then they come across a garden of carrots where they can finally have a chance to eat some real food. The next place they head to is the campus but Sombra is hesitant as he knows how dangerous it is. The three are able to make it in there where they’re able to retrieve Sombra’s girlfriend Ana, one of the activist leaders during the strike. Ana shows all the territories of the strike where the students set up their living quarters. Ana soon agrees to go with the boys to find Epigmenio before he dies.
Along the journey, they go to the city zoo and aquarium and Ana is able to help Sombra confront his fear over tigers. They go across the rich area of town and amongst people staring at their smart phones. They also go to the outer part of the city where they encounter store thugs and a boy who drops a brick from a bridge. Yeah, more bad apples in all shapes and sizes. They also come across a woman who was actually a model for the album of Epigmenio’s the boys have. They’re even introduced to his drawings. It’s right after they learn of his restaurant whereabouts of his that they leave town. This leads them to their destination and finally their chance. After the outcome, they return to the campus in the midst of the protest which Ana joins immediately and Sombra approaches without fear and with no panic attack whatsoever.
The thing about the film is that you think it’s going to be about a certain thing but no matter what you thought it would be about, it’s about something else too. And something you didn’t expect it to be about. I first thought it would be about Tomas growing up or learning something about student life at first. I’m sure most of you thought it was about that trip to see Epigmenio. Even though it was about that as far as the plot is concerned, it’s about more. I’ve sensed it’s about Mexico and its art. The boys are immersed in Epigmenio’s music but they also see and hear other art. They hear the poem Ana says as it talks of the struggle of Mexican people and hope coming from it. We hear Mexican music. We see art amongst the student protesters. We see the superficiality of the rich. We see the pettiness and the struggle of the poor from all sides. We’re also given the plot of student protests. A key factor since news has come out about killing and abductions during student protests in Mexico. Then the four meet Epigmenio for the first time and they tell his they realized why his music means so much to Mexicans including their late father and themselves. Interesting that we never know if they got his autograph or not.
Spoiler Alert: For discussion of the theme, the ending will be revealed in this paragraph. I think that what the top point of what the film was. There was the point of the hardships Mexican people have gone through before and now it’s the young’s turn to be fighters for a better tomorrow. But the top point I believe was to take a visual snapshot at Mexican life through all the four experience both on campus and throughout their trip all over Mexico and show what makes the message of hope in Mexican art. Then the film ends with Tomas taking a picture of his brother in the midst of the protest. It’s like his picture is the making of Tomas’ art. Sometimes in looking back I often think that the scene where Tomas and the three others approaching Epigmenio is almost like the ‘passing of the torch’ of Mexican artistry from Epigmenio who’s near death to Tomas who’s young and full of pictures to take.
Interesting that this is Alonso Ruiz Palacios’ first ever feature-length film. He’s done short films and television before but this is his first feature-length and it’s an excellent work. Sebastian Aguirre also did very good as Tomas. He did a very honest portrayal of a young Mexican teen that wasn’t too over the top or showy. Tenoch Huerta and Ilse Salas were both good in their supporting roles. Sometimes you’re tempted to think the film’s about them. A bonus note is that Gael Garcia Bernal is an associate producer of this film. Unique that a story like this can attract a big name like him. The film has already won awards like Best Debut Feature at the Berlin Film Festival as well as Best New Narrative Feature and Cinematography In A Narrative Feature at the Tribeca Film Fest
Güeros is a unique Mexican film that is worth watching. It’s been said ‘the journey is the destination.’ Such is the case here where the journey is an eye-opener for the four and a message of hope for young Mexicans.
“My name is Jordan Belfort. The year I turned 26 as the head of my own brokerage firm, I made 49 million dollars, which really pissed me off because it was three shy of a million a week.”
“Let me tell you something. There’s no nobility in poverty. I’ve been a poor man, and I’ve been a rich man. And I choose rich every fucking time.”
I was curious about Martin Scorsese’s latest film The Wolf Of Wall Street. I was wondering if it was something Martin’s never done before or just simply a great movie to have out at the time.
The film is a semi-biographical picture of Jordan Belfort, Wall Street scammer extraordinaire. At the start of 1987, Jordan is just a rookie in the stock-broking business who manages to come through and successfully woo clients. He even wins the appeal of his boss who tells him during a dinner that a lifestyle of casual sex and cocaine will help him succeed. However Black Monday happens and the business collapses, leaving Belfort unemployed. While looking for work, his first wife Teresa recommends he work for a small boiler room office that invests in penny stock. He agrees and the rest…is infamy.
That penny stock job pays off for Belfort as his aggressive style of selling earns him top sales and a higher commission rate than at his former Wall Street job. That inspires him to start his own business. It’s starts rather humbly first with furniture salesman Donnie Azoff who lives in the same building as him, along with his accountant parents and several friends of his, three of which were experienced marijuana dealers. He forms Stratton Oakmont, a penny stock company with a professional-sounding name. The business however is fueled by ‘pump and dump’ scamming promoted by Belfort. The business is so successful, it lands Belfort in a Forbes magazine article of him titled ‘The Wolf Of Wall Street’ and soon attracts hundreds of financers who are ‘young, hungry and stupid.’
The business skyrockets and every successful salesperson benefits with bonuses and privileges. Belfort however benefits the most with big-time pay. With it however came the lavish lifestyle of parties, sex and drugs where Belfort frequents prostitutes and becomes addicted to cocaine and Quaaludes. His excess even leads to the end of his marriage with Teresa as she catches him having sex with Naomi LaPaglia, an attendee at one of his parties whom Belfort eventually marries after the divorce and gives birth to their daughter Skylar months later.
Meanwhile the FBI get suspicious and it prompts agent Patrick Denham to begin investigation of Stratton Oakmont and include the Securities and Exchange Commission in on it. While Belfort doesn’t know what the FBI is doing, he even opens a Swiss bank account to evade being taxed for the $22 million deal made with Steve Madden Ltd. and uses Naomi’s wealthy aunt’s name to disguise it. He even uses friends with European passports to smuggle in cash to the account. However there were some close calls to that scheme when the participation of Donnie and friend Brad would get into fights.
Belfort does sense the FBI is on his case, especially after Denham meets with him personally in his yacht. He hires his own private investigator Bo Dietl to stay one step ahead of the law. But there are soon giveaways, like the time Donnie made a phone call to the Swiss Bank associate from a wire Jordan knew was tapped. He tried to stop him but the seemingly-weak Quaaludes given by Donnie suddenly kick in. By the time he tries to stop Donnie, Donnie himself his high on the Quaaludes during the phone call and is choking on a ham sandwich. Fortunately through a sniff of cocaine, Jordan is able to save Donnie’s life. Nevertheless it doesn’t take away from the threat of legal enforcement. It gets to the point even Jordan’s father is pressuring him to step down. Jordan refuses and the whole office cheers on the rebellion from Belfort and Donnie to the FBI’s subpoenas.
It’s not long before Jordan gets signs that his luck is about to run out. The first big sign came on a yacht trip with Donnie and their wives in Italy. They’re given the news that Naomi’s wealthy aunt has died of a heart attack. Jordan decides to sail to Monaco to avoid capture along the way to Switzerland for the bank accounts but a violent storm sinks the ship. All survive but the rescue plane sent to take them to Geneva for the accounts explodes. This causes Jordan to decide break free from drugs.
Eventually the FBI do crack down on Jordan, while filming an infomercial. The Swiss banker, who was arrested in Florida over an unrelated charge, tells the FBI everything about Belfort. The evidence against Belfort is overwhelming but Belfort decides to cooperate by giving the FBI information about his colleagues in exchange for leniency. Jordan’s optimism over the possibility of leniency starts to run out as his wife decides to divorce him with full custody of their children. Jordan reacts angrily, even abusively, and attempts unsuccessfully to abscond with his daughter while high on cocaine behind the wheel. Any hope of leniency all ends when Jordan interrogates Donnie, warning him in a piece of paper about the wire. Agent Denham finds out about it and it’s the end for Jordan’s freedom and Stratton Oakmont. However after his three years in prison, Jordan has found a new life…hosting seminars on sales techniques.
Looking back, I don’t think Martin Scorsese was trying to reflect on too much of a current theme in his movie. I feel he was trying to tell the story of Jordan Belfort most of the time. Often it would come across as another example of the American Dream gone wrong or how it’s often mistaken as the quest to be the richest. Nevertheless the narration from Leonardo as Jordan does give a reflection of our business society. Many of the quotes Jordan and others say are reflections of the drive of the business world and sometimes a reflection of how many in the business world often are oblivious to the difference between their own greed and personal drive and ambition to be #1.
Another reflection Martin was probably trying to show was how being at the top of the game in the United States is like living in a jungle. The office of Stratton Oakmont did come across as a wild jungle in the corporate wilderness known as Wall Street. All the workers who wanted to excel came across as the vicious ferocious animals with a false sense of invincibility, especially Jordan. Sometimes you’re left thinking the business world is so vicious, one has to make a wild animal of themselves to excel. Is it worth it?
If there are any core themes of this movie, I believe it would have to be about lust and addiction. Right as a young investor when he gets the advice from his boss about a steady habit of sex and drugs, it already set the stage. Jordan became addicted to sex with his wives and other women. Jordan also made a steady habit of drugs to make him excel in the business world only to end up addicted to them. However it appears that the biggest drug in Jordan’s life had to be the money. Working in the stock market, Jordan gets the popular first-hand feel that ‘more is never enough.’ Money gave him that sense of power and invincibility one can get from a steroid. It also made him a slave to his habits and act out of control like any other addictive drug. “We were making more money than we knew what to do with it,” Jordan says. Eventually it would hurt him and everyone else around him in the end.
There was a lot of talk about all the elements Martin included in a film like this like over-the-top swearing, sex and drug use. Even with the violence being rather tame for a Scorsese film, there was question of that too. One thing I have to say is that my expectations in film have changed quite a bit since I was a Generation-Xer of the 90’s. I know I first talked about my Generation X attitude towards entertainment back then in my review of Django Unchained. Back then I had the common attitude that the arts should push envelopes and was convinces that the best artists or best works of arts challenged the status quo of their times. I’ve changed since then and even though I like envelope pushing, I don’t believe it should make compromise for entertainment value or showbiz expectations. Yeah, don’t let being an artist get in the way of doing your job in this biz.
Getting back to the content, I came to the movie with the full knowledge of the 500+ f-words and all kinds of raunch and obnoxiousness anticipated for it. So I went with the attitude: “If you’re going to have this many F-words and all sorts of over-the-top stuff, you better justify it.” I wouldn’t approve of censorship but I would question a lot of what happened in those offices. Was it really loaded with foul language and flipping the tweeter at everyone including the boss? Was there really sex on the workfloor? Or a monkey in the office? Or a marching band one day? Did Donnie really pee on his subpoena on his desk for all the office to see and cheer on? Did a female worker really volunteer to have her head shaved if the team hit a target? I find that hard to believe especially since my own workplace imposes professional behavior. However Jordan Belfort has maintained in many interviews it did happen. Scorsese refused to water things down and Leonardo agreed it shouldn’t have been. I myself wasn’t shocked or outraged by the content on screen. As mentioned earlier, I was more shocked at these things as chronological events. Nevertheless it does have me asking: “Blue Is The Warmest Color got an NC-17 rating but this is rated R?”
This was a very good biographical movie done by Martin Scorsese. It’s not done epic-style like The Aviator. Nevertheless it is central to its themes and depicts Jordan as anyone on Wall Street who’s determined to do what it takes to rise amongst the top. Martin and scriptwriter Terence Winter knew how to do a movie very thematic of that. The main glitches is that I feel three hours is too long for a story like this. I question the length of it and I also question certain scenes like the one of Jordan and Donnie having delayed highs from the dated Quaaludes. If there’s one thing I give it kudos for, it’s that human elements didn’t get lost in it. In fact one scene I liked was near the end when Jordan’s parents are in tears when they hear of his sentence. The parent/son part of the whole story was a good addition and it was most valuable in that end scene. For the record, this is not the first movie of Jordan Belfort’s exploits. The first was 2000’s Boiler Room where a rising star by the name of Vin Diesel played Belfort.
As for the acting, Leonardo was excellent as Jordan Belfort. I was first expecting Jordan to be like Gordon Gecko of Wall Street. However while Gordon was more of a control freak, Jordan was like a Trojan warrior on a mission to conquer. Leonardo did an excellent balance of doing a character who appeared invincible but was oblivious to how out of control he was and ignorant to the limits of his power. Name any movie character synonymous with power–Braveheart, King Kong, Maximus from Gladiator— you can see it in Leo’s depiction of Jordan. Jonah Hill also did an excellent job of character acting in his role of Donnie. I have to say Jonah has really grown with his acting abilities ever since I first saw him play his big doofus roles early in his career. His performance as Donnie is a sure sign of his maturity as an actor over the years.
Margot Robbie has the most underrated role in the movie as wife Naomi: possibly the one person that can bring Jordan back to Earth and remind him of the limits of his powers. Sometimes Naomi appears to be one of Jordan’s drugs and Margot did a great job. There were also good minor performances from Jean Dujardin, Kyle Chandler and Joanna Lumley but the best had to come from Rob Reiner. He was great as the father watching both nervously and heartbreakingly as it all comes crashing down. Actually the whole ensemble caught your attention from start to finish. Hardly ever a dull moment. And the mix of music from various decades also added to the energy rush of the movie.
The Wolf Of Wall Street is an intriguing movie and will leave you shocked at the story being told. However it is not worth the three hours of running time given. Yes it does entertain and there’s rarely a dull moment but it makes you question whether all that time is worth it. Yes, it’s worth seeing but worth three hours of time?
If you’ve seen Lincoln already, you’ve already seen one man’s approach to slavery. Now Django Unchained is another man’s approach to slavery that’s more what Quentin Tarantino had in mind and not what you’d expect.
The film starts with the Speck brothers walking a group of male slaves down across Texas in 1858, three years before the Civil War. Their journey is interrupted by Dr. King Schultz who appears to be a traveling dentist. He offers to buy one of the slaves, Django Freemen. Before the Specks can refuse Schultz shoots one of the Speck brothers to death, shoots the other leaving him in pain and frees the other slaves to let them kill the wounded Speck.
Schultz confesses to Django he’s no longer a dentist but a bounty hunter who kills fugitives for reward money whenever the opportunity arises. He especially chose Django because he can help identify his next targets, the three ruthless Brittle brothers. Schultz admits he hates slavery and offers Django to help with freedom, $75 and a horse as a reward. Django assists successfully in helping Schultz shoot down the Brittles.
Not only does Django get his promised rewards but Schultz hires him as his bounty hunting associate. This comes as Schultz learns that Django has a wife: Broomhilda ‘Hildy’ von Shaft who is also a slave now owned by a separate owner. Schultz is hoping making Django his associate will reunite him with Hildy. Schultz does a good job in training him and Django is fully ready with the shooting skills and the desire for blood. His first operation on Smitty Bacall is a success from hundreds of feet above off a cliff. Django and Schultz are successful in other bounty shootings too and soon learn Hildy is owned by plantation owner Calvin Candie. Once arriving as his plantation, Candyland, we learn Calvin is a charming but brutal man who has his male ‘mandingo’ slaves fight to the death for his entertainment pleasure.
The two try to pose as ‘mandingo’ purchasers to Candie however the purchase turns real when they witness a slave mauled to death by angry dogs. They then ask for Hildy as an addition. Candie agrees to the sale but it raises the suspicion of Candie’s staunch slave Stephen who suspects Django knows Hildy and is up to something with this sale. Upon the advise of Stephen, a drunken ruthless Candie gives Schultz a deal: Hildy for $12,000 or death. Schultz agrees and shoots Candie after the offer. A shootout occurs with Schultz shot and Django shooting many of and many of Candie’s men dead only to end when Stephen threatens to kill Hildy is he doesn’t surrender.
Django is sent to punishment by Stephen and Candie’s sister working as a coal miner worked to his death. That’s what Stephen thinks as Django is able to outsmart the slave drivers, kill them and take their dynamite. This comes for the set up at the end for Django’s revenge on Stephen and all those at the plantation. Even though most people know what the ending will be, it’s the style that it’s done in that’s the treat of the movie.
One thing about this movie is that it’s not supposed to be the answer to slavery. It’s not supposed to be even a version of how slavery should have been solved all along. What this movie is basically is Quentin doing what he does best: a revenge movie done in his style. I’ve been an admirer of him since Pulp Fiction. I remember when I first saw it near the end of 1994. I was a college student of the time and Pulp Fiction was a movie that impressed people of my generation. I came from a generation that was strongly anti-censorship and looked at commercialism in movies as a downgrade in creativity and an attempt to soften the authentic. When Pulp Fiction came out, we were impressed. Finally a movie where the director/writer has complete creative control and it excels. Finally a movie that takes filmmaking to new levels as filmmaking should. Finally a film that pushes envelopes as us Generation Xers in college felt all art should. Finally a movie that makes original pay off at the box office. Finally an independent movie that could make the Hollywood fare at the time look like a laughing stock. Finally a film that doesn’t censor itself and doesn’t bow down to pressures of ratings boards or family values groups and it excels. In the end, Pulp Fiction has been hailed by most as the best film of the 1990’s.
Eighteen years have passed since Pulp Fiction has been released. While most directors have had a flare last for a number of years only to flare out over time, Tarantino never did. He still delivers movies that know how to charm and even enchant. Also while it appears that there’s a lack of taking film in new directions right now and more interest in creating a box office winner, Tarantino is still one who dares to stand out, take risks and do things his way. One thing I’ve come to know of Quentin Tarantino’s movies over the years is that he aims to deliver a film in style. It’s seen very clear in the films he shows that he attempts to tell a story via film noir or blaxploitation or spaghetti western style. He wants to deliver a stylized story as he’s done in his past movies and he does it again here.
Another thing Quentin does in his films that he does again here is deliver a movie with stylized characters with eerily charming personalities and deliver their acting with style. We see it with the characters of Django Freeman, Dr. Schultz, Calvin Candie, Hildy and Stephen. All of them have their personalities in their likeable traits and their hateable traits. All also deliver in their stylized acting without coming off as ridiculous. Few times can an actor get away with doing such a showy stylized character in movie performances without looking ridiculous or over-the-top. It’s here in Quentin Tarantino movies where it works the best. It’s funny because when I learned Django was about a slave getting revenge, I was expecting the actors to play characters with mannerisms from the 1850’s. Not in a Tarantino movie.
Also noticeable is how Quentin works to avoid the sentimental and touching in his films and it’s seen again here. The two where I got the biggest sense of this was firstly the scene where Django shot Smitty Bacall from a cliff and we see Smitty’s son coming to him on the ground. There’s no scene of the son’s reaction. The second was the scene where Hildy saw Django after being away from him for so long. I was expecting Hildy to be in tears and embrace him. Instead she faints at the sight of him. Not what I expected but should’ve in a Tarantino movie.
If there’s one glitch to comment about the movie, it’s that it’s yet another revenge flick from Tarantino. Back in the 90’s his films had the focus of the criminal mind. I was good with that. In the 21st Century, his movies have been focused on the theme of revenge, from the Kill Bill series to the Death Proof part of the Grindhouse movie to Inglourious Basterds. I didn’t have a problem with that because it was done entertainingly and even enchantingly at times in some scenes. Here it was a case where I went with the feel “Not another revenge story from Quentin Tarantino.” I’ll admit that it was a very stylishly done movie that delivers in entertainment value but seeing Tarantino toy around with the theme of revenge once again gives me the impression he’s masturbating to that theme a little too gratuitously.
Don’t get me wrong. I’m not trying to say in my review that this is the movie that is the turning point for my respect for Tarantino. In fact I still consider him one of the best filmmakers out right now. I would however like to see him work with other themes too. Like many people, I feel one trait that makes for a great director is one that can do many genres well. Steven Spielberg is an example of a director that can do a multitude of film genres. Martin Scorsese may be famous for gangster films but he showed he can do other styles of film well too, even family movies. Ang Lee is another filmmaker that has demonstrated versatility. I would like to see Tarantino become more versatile in the films he delivers. This may sound odd coming from a fan of his movies but I’d like to see him try it.
Okay, enough of me both praising and sacking Quentin. The film’s acting consists of character acting that knows how to be stylish without coming across as ridiculously showy. Jamie Foxx was impressive as Django Freeman. The only problem is that he was constantly upstaged by the supporting players. Christoph Waltz delivered excellently as King Schultz with all of his charming arrogance who somehow had a heart. Leonardo DiCaprio also was phenomenal as the charmingly hateable Calvin Candie. Samuel L. Jackson was excellent as the hateable Stephen: the former slave who now owns and beats his own. He makes you want his payback in the end. Kerry Washington was also good as Hildy but her character lacked the depth and style the leading male characters had. The sets were perfect in fitting the time. Even the springy tooth on Dr. Schultz’s coach looked less ridiculous over time. The music mix was also excellent. Another trait of Tarantino’s movies is the inclusion of music that enhances, stylizes and even enchants in the movie’s story and Quentin delivered again. It was a mix of original music and of songs from decades past that blend like magic into the film.
One would assume a movie like this would be one to cause controversy. And they’re right. This movie has had people speaking out against it on the subject of either the violence or the subject of slavery or the use of racial slurs. The most outspoken critic has been director Spike Lee. Spike has been critical of Quentin Tarantino in the past for the use of a certain racial slur in Pulp Fiction. Spike hasn’t really spoken about the use of that slur in Django but he has spoken about the movie itself and has declared it: “an insult to my ancestors.” This is particularly questionable since there are African American actors in leading roles. If they felt it was an insult to their ancestors, they would have refused to be in the movie. Besides I’ve always gotten the impression Spike Lee wants the world to think he’s the voice of all of black America simply because of Do The Right Thing. Fortunately the controversy hasn’t generated too much news overload.
It’s interesting while Lincoln showcased justice given to slavery, Django Unchained is about one slave’s revenge. Ironic how both are released in the same year and both have expectations to win the Best Picture Oscar. As for Django, it’s starting to feel redundant to see another Tarantino revenge flick but his stylized filmmaking compensates for that and delivers a winner of a movie for the most part. Not for all to see but it will entertain those that do see it.
Who here hasn’t seen Titanic? When it opened near the end of 1997, it broke practically every movie record in the book, became a huge pop culture phenomenon and remained that highest grossing movie ever until James Cameron’s follow-up Avatar was released. Now it’s out in 3D. The big question is how does Titanic fare as a 3D movie?
NOTE: Just to let you know, this is not a basic movie review. This is a review of the movie’s addition of 3D. I’ll give you a brief summary of the movie itself by saying it was an excellent movie but it was more about being an epic than about having excellent acting and scriptwriting. Sure, Gloria Stuart had the best performance of the movie and Kate Winslet was excellent, but most of the acting was the best the actors could do with cardboard characters. The script had a few cheesy lines too–“This is bad.” and “I’ll be down here waiting for you.”–but we should forget that the script isn’t the whole point of an epic movie. As for the Oscars, I feel Best Picture should’ve gone to L.A. Confidential that year. Titanic had some good moments too. The best qualities were the cinematography, the score from James Horner and especially the visual effects. James Cameron created an epic masterpiece. It’s no wonder this movie smashed every box office record in the book and remained unbroken until Avatar broke them all.
So there you have my brief review of Titanic. Now for my review of Titanic 3D. Often I consider 3D releases of movies more of a case of a cash grab than in terms of quality. Most of the time when I go to a 3D release of a movie, I expect the 3D to justify itself. Some of them like Coraline, Avatar, Toy Story 3 and Hugo worked. Some of them like Up, Iron Man 2 and John Carter didn’t. I will have to say that there were many parts in Titanic where the 3D did not work, like the drama and the dialogue. Even the parts of the ship’s sinking didn’t have anything added with the 3D effect. One thing I will note is that Titanic was not designed to be a 3D movie. 3D movies weren’t taken into as serious consideration as they have been in the last four years. I’m sure if Titanic was meant to be seen in 3D, James Cameron would do a lot of direction changes and ordered different cinematography angles.
The 3D worked best during scenes which put the audience in the character’s place. Some of the best scenes included where Jack is welcomed to the first-class dinner, or when the two are dancing in the third-class section. The best I felt was the scene where Rose and Jack are at the stern of the boat getting the feel of flying. That scene of riding the waves was one of the best 3D parts of the movie. The other area where 3D worked best was the disaster scenes from within the ship. Scenes of sudden bursts of water in the engine chamber and throughout the third class deck were other areas where the 3D worked best.
One thing about the re-release of Titanic in 3D is that it reminds you just how right it is to do a re-release of Titanic anytime. 3D or no 3D, Titanic is a movie meant to be seen on the big screen. Seeing it on your television via DVD or Netflix and especially seeing it on your cellphone doesn’t do it justice. If you’ve seen Titanic in the past, you would know for yourself that Titanic is a movie meant for the big screen. Not just visual but the addition of the surround sound adds to it too. The big screen is the best way, if not really the only way, to experience it. I’m glad they re-released it. If you loved Titanic when you first saw it and saw it again, the re-release will remind you why you fell in love with it. There were even times when I left the theatre thinking that if Titanic were to be made today, who would play Jack and Rose? Ah, Leo and Kate can’t be replaced but if it was done today, my best bets would be Jamie Bell and Keira Knightley. Gloria Stuart couldn’t be replaced either but I’d assume elder Rose would be played by Lauren Bacall. Okay, I’ll save it!
It’s a wonder why they picked April 4th for the 3D re-release since April has so many 100th anniversary commemorations that month. They could have released it on April 10th–the 100th anniversary of the Titanic’s ill-fated departure– or April 15th: the 100th Anniversary of the RMS Titanic’s doomsday. The only 100 Anniversary April 4th commemorates is the completion of the Titanic’s trial run. Not much to commemorate, eh? As for me, I find it ironic I saw it on Sunday April 15th: the exact 100th anniversary of the sinking.
There’s no question that Titanic’s re-release in 3D is another cash grab as is any other big movie in the past that’s been re-released in 3D. Nevertheless it is worth seeing as it reminds you why it’s so right to see it on the big screen, 3D or no 3D. The addition of 3D doesn’t add much but it’s still worth seeing again even to re-live the experience.