At first one would think that The Shape Of Water is another science fiction movie with a bizarre story, but it turns out to be a story that’s a lot more than that.
Eliza Esposito is a mute woman in Baltimore in 1962. Orphaned at a young age, she lives in an apartment just above a movie theatre and works as a janitor in a secret government laboratory. She only has two friends. The first is Giles: a gay advertising artist who lives next door to her. They often eat pie and watch entertainment together. The second is Zelda: an African American woman she communicates with in sign language. It’s through Zelda she can tell her biggest secrets.
One day, a creature is brought to the laboratory. It’s a sea creature from South America captured by Colonel Richard Strickland. Right when she sees the creature, she notices something about him. That the creature has some human-like traits. Both Zelda and Eliza sense something wrong with Colonel Strickland as he comes across in a gruff manner. They also notice he brought a cattle prod that has blood on it. Eliza notices the blood travels in a unique pattern.
Later Strickland is attacked by the creature, bleeding badly and lost two of his fingers which get reattached shortly after. As Strickland is being tended to, Eliza wonders who is this creature and what do they want from him? Eliza soon develops a bond with the creature and discovers it’s a humanoid amphibian. She gives him eggs to eat, music to listen to, and communicates with him through sign language.
There are different plans people have for this creature. General Hoyt wants Strickland to dissect it for the possibility of an advantage in the Space Race. Scientist Robert Hoffstetler, who is secretly a Soviet spy, tries to convince his masters to keep the creature alive for scientific study. The Soviet spymasters disagree and want him euthanized.
When Eliza learns of Hoyt and Strickland’s plans for the creature, she tried to persuade Giles to assist, but he rejects at first. It’s after a failed attempt at hitting on the pie man that he agrees to comply. Zelda is also opposed to it at first, fearing for but her job and Eliza’s, but she agrees to help. Hoffstetler tells Eliza he’s aware of her plan and is willing to help.
The plan is to help the creature escape where no one can see. Zelda keeps a close eye on the coast. Hoffstetler helps in the distracting of the surveillance cameras just as Zelda makes the adjustment, and even has a bomb on the power base set to explode at the right minute. Giles rents a truck and paints it to look like the laundry pick-up truck. Eliza is able to get the creature into the laundry bin. Just as it appears that Giles is about to get stopped by security, Hoffstetler injects sleeping medicine into the guard’s neck. The pick-up and escape is successful, but not without smashing Strickland’s new blue Cadillac!
Eliza keeps the creature in her apartment. She keeps it in her bathtub which she mixes with salt and plants. She plans to release it into a canal in a few days one it opens to the ocean. She’s well aware that Strickland still wants the creature. Strickland even meets with Eliza and Zelda to interrogate, but both are able to keep the truth hidden from him.
Back at the apartment, the creature leaves Eliza’s suite and visits Giles’ suite. He takes an interest in his drawings and the television, and thinks one of his cats is food! The creature runs off again just after he slashes Giles’ arm. Eliza goes searching for the creature and finds him in the movie theatre staring at the screen. The relationship between Eliza and the creature grows. She becomes more than just his protector, but his lover. She herself can even acquire the ability to make shapes with water. She even tells all to Zelda, to her surprise. The creature even helps Giles heal from his wounds. Giles eventually opens up to him just after. Eliza gets sexually involved with the creature even to the point she tries to flood her whole bathroom to have underwater sex! Much to the disappointment of the cinema owner down below!
However time is running out for all. General Hoyt gives Strickland an ultimatum of 36 hours to return the creature back. For not helping with keeping the creature, Hoffsteler is told by his superiors he will be extracted in two days. However the creature’s health is failing and he will have to be returned to the water. The day Eliza planned to take the creature to the canal comes. Giles agrees to help drive the creature to the canal when the day comes.
Meanwhile Hoffsteler meets with his handlers and is shot, but not until Strickland intervenes and shoots the handlers dead. He forces Hoffsteler to reveal who took the creature. Strickland then goes to Zelda’s house. To the shock of her and her husband, Strickland arrives and threatens Zelda to reveal Eliza has been keeping the creature. Zelda then telephones Eliza and Giles warning them of Strickland. The time to take the creature to the canal is now. The creature wants Eliza to come with him, but Eliza insists it’s better for him to go alone. The scene ends on a dramatic note and an ending that’s unexpected, but is the right ending for the film.
This does make for a bizarre story of a recently-discovered sea creature and a woman’s romantic connection to the creature. We’ve seen Beauty-And-The-Beast type of movies before like King Kong or Creature Of The Black Lagoon. The funny thing about this is that it actually succeeds as a romance. The first thing that makes it work is that there’s a real connection between the woman and the creature. Rightly so because Eliza is the first to connect with the creature and connects with him in the biggest way. All Eliza had before was her job and the friendships with Giles and Zelda. Here she finds a being that she not only connects with, but becomes her soul mate. The one that completes her. They were two lonely people who were united by fate of the most impossible kind. You could understand why the ending made sense. It was through the magic of the creature’s healing that she is able to live in his world and his world only.
The most interesting thing of the film is its connection of the various arts. It’s more than just nostalgia. It reminds you of the charm and the feel of such entertainment back then that most people overlook. However it’s through those various arts that the sea creature gets a sense of human vitality and even embraces it into his own life. The art he comes across helps him communicate in the human world and gives him his human-like qualities. From the music Eliza plays to the images on the movie screen to even watching a hokey episode of Mr. Ed on Giles’ television, the entertainment is his connection to his human traits. It even helps him experience his feelings of love which he has for Eliza. You could understand why that one scene where Eliza was not a mute –that musical number where she dances with the creature– makes sense. It’s through art that she’s able to express her love for the creature: the one being that doesn’t make her feel like an outsider at all.
The creature doesn’t just affect the lives of Eliza, but of the two closest to her too. Soon after Giles has a change of heart and helps the creature’s escape, Giles opens up to the creature and soon makes him a part of his own art. As Zelda helps the creature escape, she too develops an inner strength in her and is able to stand up for herself to her husband. It’s something to think about. The three main characters are all misfits in 1962 Baltimore. Eliza is a mute, Giles is gay, and Zelda is black. However it’s through this creature that Eliza finds a soul mate, Giles finds a purpose and Zelda finds an inner strength.
I give top credit to Gullermo del Toro. The story he directed and co-wrote with Vanessa Taylor is comical and had a lot of good drama, but it’s the human element that shines in the story line. Del Toro would admit in an interview that this is inspired by The Creature From The Black Lagoon and always dreamt of seeing Gill-Man succeed in the romance to Kay Lawrence. I can sometimes see hints of Pan’s Labyrinth in the story. It’s interesting how he creates this story that romanticizes the entertainment of the time as well as reminds us of the hysteria of Communism at the time too, as well as the racism. All of this makes the charm of the film.
The acting is the biggest strength of the film. The best comes from Sally Hawkins in playing a mute who best communicates to the sea creature with her feelings and with the power of art. Richard Jenkins is also excellent as Eliza’s loner friend who finds a new purpose in life through the creature. Another excellent performance is from Octavia Spencer playing the friend closest to her side. Also very good acting from Michael Shannon. You often wonder if Strickland is heartless or just plain under the thumb of the Colonel. You know he’s troubled when you see the amount of pills he takes. Excellent work for Doug Jones. One again, he does excellent work as the creature in Guillermo del Toro’s movies. Most of you remember him as the Faun in Pan’s Labyrinth. You could say Doug Jones is to del Toro’s movies what Andy Serkis is to Lord Of The Rings’ Gollum.
The film has a lot of excellent technical aspects too. There’s the costuming and make-up team that made up the costume of the creature, as well as the visual effects team that made the ‘blue effect’ of the creature’s skin. There’s the production design team that made an excellent set that dates back to the early 1960’s to a tee, even with the movie theatre. There’s Luis Sequeira that designed the right costumes and outfits for the actors as well. Finally, there’s the mix of the music of the time mixed with the imaginative score of Alexandre Desplat. Desplat knows how to compose for a movie.
The Shape Of Water is more than just a creature-and-woman romance we’re familiar with. It succeeds in having the feel of an actual romance and successfully convey the feelings of love. In the end, the romance looks so right! That’s its magic.
The subject matter of The Post doesn’t sound like the type of subject matter that would win a big crowd, but it is a film worth seeing.
The story goes back in 1966 during the Vietnam War. Military analyst Daniel Ellsberg is in Vietnam with General Robert McNamara to document the progress of the war. McNamara admits to Ellsberg and President Johnson that the war is hopeless but has confidence in the effort, leaving Ellsberg disillusioned.
Years later, Ellsberg is now working for a military contractor and comes across classified documents showing the US’s decades-long involvement in the conflict in Vietnam going back to just a few years after World War II ended. Ellsberg discloses the documents to the New York Times.
It’s 1971. Katharine Graham is head of the Washington Post. It’s been a position she mastered with a lot of difficulty as it’s commonly seen as a ‘man’s position.’ Even though her family founded the Post, the position of the head went to her husband Philip instead of her. It was right after Philip’s suicide that Katharine became head. It’s not easy for a female to be head of a newspaper. Especially someone like Graham who has a good work ethic, but lacks experience and is constantly overruled by the aggressiveness of the men of the Post. On top of that, she seeks to gain an IPO for a stock market launch to propel the Post to greater strength. The Washington Post however is second-fiddle to the New York Times which always has the biggest news scoops, even the scoops of what’s happening in Washington.
Editor-in-chief Ben Bradlee is one of the men who work for her. He tries in vain to be one step ahead of the New York Times in coming up with the latest scoops, but falls short each time. Meanwhile McNamara, who is a friend of Graham’s, confesses to her of how he’s the subject of bad news in the New York Times. It’s through their constant expose of the government’s deception of the American public. However a court injunction blockades any further publication of such news by the Times.
Ellsberg is willing to provide the documents and opportunity to the Post to publish the stories. As they look through the stories to publish, lawyers to the Post advise against publishing the story, fearing the Nixon administration will press criminal charges. Graham seeks advice from McNamara, Bradlee and Post chairman Fritz Beebe of whether to publish. It’s made even more frustrating when the lawyer note that since the sources are the same as the New York Times, Graham herself could be charged with contempt of court. It’s a gamble. Graham risks terminating the newspaper her family established. Alternatively, the Post won such a legal battle, it would establish itself as a major journalism source, much on the same level as the New York Times.
She agrees to have the story published. The White House retaliated by taking both the Times and the Post to the Supreme Court to argue their case of publishing classified document information being a First Amendment Right. Both newspapers receive almost unanimous support from the other newspapers in the US and they win their Supreme Court battle 6-3. An infuriated Nixon bans the Post from the White House. And the rest is infamy… for Nixon.
The film is more than just about a top secret story that needed to be exposed and makes journalism history. The story is also about the newspaper behind the story. We shouldn’t forget that this came at a time when The New York Times was the newspaper that delivered the biggest news about what was happening in the Oval Office and the ones to do it first. Even though the Washington Post was the newspaper of Washington, DC, it was more of a second-fiddle newspaper like the newspapers of the rest of the cities. The New York Times lead and all other newspapers, including the Washington Post followed. This story allowed the Washington Post take pole position towards what was happening in Washington. This would also allow for the Washington Post to be the prime newspaper to go to upon the breaking of the Watergate Scandal. Even despite the Post competing against the Times, they united when they faced the heat of the freedom-of-speech debate and won together.
The film is not simply about a history-making story, a legal breakthrough or even a milestone for a newspaper. It’s also the personal story of Katharine Graham and how she had to achieve greatness for herself. Katharine Graham was born into the paper and assumed control of it right after her husband died. It was always tradition that a man headed the newspaper. After the suicide of her husband, she headed it. The paper her ancestors founded and the paper she wants to propel into marketability. This news story could help be the boost she needed, but the court injunction against the New York Times causes her to put it on hold. Basically she’s gambling everything with this touchy story: the Times, her status as a leader, her role as a woman with power, her role as a mother, even her own personal freedom. In the end, that one decision caused left all of us convinced she did the right thing. She did more than just allow a story. She did more than boost the profile of the Washington Post. She created a breakthrough in freedom of speech and freedom of press. On top of that, she earned the respect from her male colleagues. That was rare back in the early 70’s.
This story is very relevant to the present. We always hear those words ‘fake news.’ We have a feeling that Donald Trump is like a big brother monster who wants to control everything. There are often times in which I wonder if the times of Nixon were worse than the times of Trump. I know all about Nixon and his lust for control. Whatever the times, the story and the court ruling against government censorship of the press serves as a reminder to all citizens that the press has the right to publish the truth to the public. The ruling of the New York Times vs. The United States of America back then was clear: “‘In the First Amendment the Founding Fathers gave the free press the protection it must have to fulfill its essential role in our democracy. The press was to serve the governed, not the governors.” That ruling still applies today.
Leave it to Steven Spielberg to direct a story that will capture our intrigue. Some would describe this type of story as a ‘boring story.’ Steven Spielberg knows how to direct it into something interesting and have us glued to the screens. The screenplay by Josh Singer and Liz Hannah also creates the right interest and intrigue. They’re able to take the chain of events surrounding the publishing of the story and turn it into a story of intrigue. Even a story from a humanist side.
Once again, Meryl Streep delivers in creating depth in a public figure. She gave Katharine Graham the right dimension and the right humanistic tone to make the story work. Tom Hanks also does an excellent job in his role as Ben Bradlee. He delivers in the character very well as he adds some dimension to Bradlee too. The supporting actors may have minor or limited roles, but they add to the film too. Janusz Kaminski does an excellent job of cinematography and John Williams again delivers a fitting score.
The Post is a journalism story that will keep one intrigued. It’s a story that’s very relevant today as it’s also about our own right to know the truth.
I know I’ve done individual reviews of Best Picture nominees in the past. This year I thought I’d try something new. I thought I’d do summaries of the nominees. Three blogs analyzing three of the nominees. It’s something new this year and I hope you like it. For my first summary, I’ll be reviewing the first three Best Picture nominees I saw: Arrival, Hacksaw Ridge and Moonlight.
When you learn Arrival is about aliens, I’m sure you have an idea of what you’d anticipate what a movie about aliens would be about. However, you’re in for a big surprise.
This is probably the first movie about aliens to earn a Best Picture nomination. The film appears to set up for a story that would most likely lead to big-time action sequences. Instead we get a film that’s very intellectual in dealing with aliens. Don’t forget Louise is a linguistics professor who was hired for this duty because of her language expertise. In this film, the focus is on communication. Louise has a way to communicate with the aliens and earn their trust even while those around her grow more hostile to the beings. Louise’s gift for communication goes beyond the aliens and she’s able to say to General Shang the words his late wife said to her. It’s like she has a sense for this.
Even with all this, the film is not just about aliens and preventing a human-alien war. The film is about Louise trying to heal after her daughter’s death. Her marriage is no more as well and she’s looking for her purpose. It’s even about Louise and her ability to foresee the future and the possibilities they can unfold. Louise is the central protagonist whom the whole story revolves around. She finds her true gifts at a time she least expects it and she’s able to find her life again. It’s almost like this alien invasion is like a godsend to her life. Right after her daughter dies, she learns of her purpose to the world and to others.
Denis Villeneuve did a top job of directing this film. He already has a reputation for films like Maelstrom, Incendies and Sicario. He’s also been hired to do the Blade Runner sequel. This film he directs is very tricky but he does all the right work for it. The script by Eric Heisserer is very smart and very deep. It does a very good job of getting the right moments of action and the right moments of drama pieced out.
The story also rested on the performance of Amy Adams. She knew the story was primarily about Louise and she had to make it work. Although the role didn’t have too much in terms of character development, her performance was solid and it held the story together. The supporting performers may not have had as big of roles but they still did well with their performances. Jeremy Renner definitely could have had more depth in his role. The music from Johann Johannson and Max Richter fit the movie perfectly. The visual effects were also excellent and just what the movie needed.
Arrival is a very intelligent movie. It’s an alien movie not like one you’d anticipate at first but you will leave the theatre pleased.
Mel Gibson is back. This time he has Hacksaw Ridge. It’s a war drama that’s about more than just the war.
This film makes for an interesting topic: conscientious objection. I know all about it. For years I went to a Protestant church where the people were known for their anti-war beliefs. Conscientious objection is something that’s bound to make one question their morals and even act out of hostility. I know that we have conservative pundits who insist that fighting in a war is the definition of patriotism and will even use scriptures to justify why was is the right thing. Upon release of this film, I was anticipating a conservative backlash against it. So far no ‘Diss The Doss’ movement has happened. No movement to have his Medal Of Honor posthumously revoked. Nothing. It’s a good thing because the film does make one reconsider what defines a ‘patriot.’ I’m glad this story was told.
One of the biggest complaints from conservatives in the last 40 years has been either the negative depictions of religion or lack of positive depictions of religion in movies. True, this is not the Hollywood where the Hays Code calls the shots. For those that read my review of Of Gods And Men, I have a quote from Barbara Nicolosi about why that’s the problem. That explains why it’s hard to get a pro-religion movie to compete for Best Picture nowadays. There’s a fine line of showing a film with a positive depiction of Christianity without it being schmaltzy, hokey or overly sentimental. Plus with all the ‘game changers’ in the last few decades, writing a winning script or creating a winning film is just that much of a challenge.
I feel they did a very good job in Hacksaw Ridge. It was a very good story of the persecution Desmond Doss had to face for his beliefs. It was a very gritty story of the war and all the damage it caused. Some say the graphicness was comparable to Saving Private Ryan. It was an honest portrayal about someone’s faith. However there was one point when I felt it was borderlining on hokey during the scenes of: “Please, Lord. Help me find one more.” I know that was something Doss said in real life but I’m just wondering if it could have been done better.
This film is the first film directed by Mel Gibson in a decade. I know he had to take a break as he had a very public meltdown with the things he said about others and problems with alcohol. You could rightfully call this film the redemption of Mel Gibson. He directs an excellent film that took a lot of effort to make. 14 years to be exact even while Doss himself was still alive going from one writer to the next until finally they had the right script and right story thanks to Andrew Knight and Robert Schenkkan. Gibson and the writers did an excellent job with the film with the story and the depiction of war.
In addition, the story was made thanks to the performance of Andrew Garfield. This was more than just a war story. This was a story of a person’s heart and soul. Garfield knew he had to personify Doss in his convictions in order to make this story work. He did it excellently. It’s hard to pick out any supporting players who stood out. None of the roles of the supporting actors were as developed. However Teresa Palmer did a very good job as Dorothy Doss and portraying the concerned fiancee, as is Hugo Weaving as the father Tom Doss and Vince Vaughn as the hard Sargent Howell. The visual effects and the sound mixing were top notch, as it should be in a film like this. The score from Rupert Gregson-Williams fit the film excellently.
Hacksaw Ridge is a surprising film. Who would’ve thought that the best war movie in years would be about a man that didn’t fire a single bullet? Definitely a story worth telling.
At some point, you gotta decide for yourself who you’re going to be. Can’t let nobody make that decision for you.
This year’s surprise critical success is Moonlight. It’s a very unique film like no other seen this year.
The film is unique as it sets itself around three key periods in the life of Chiron. There’s his childhood where he’s known as Little, there’s his teenagehood where he’s simply known as Chiron and there’s his adulthood where he’s known as Black. The film does tell a story of a man who you think would die young. He has all the ingredients: gay, living in inner city Miami, a verbally-abusive mother addicted to crack, arrested at a young age and a future of being a pusher himself. Somehow he finds the will to survive. He’s able to withstand the bullying he faces for being gay, he’s able to decide his life to the best of his abilities without his mother. Often it’s not the best choices he makes in his life but he finds the ability to survive. You wonder how does he do that? Was it from that brief time with Juan and his mentoring? Was it the love from Kevin he always knew was there? I remember that scene of Little in the school dancing classes dancing like he was in 7th heaven: his escape from the bullying. Was it a spark within Chiron himself? Whatever the situation, it results in beauty at the end.
The film is not just about Chiron. As one can see, it showcases the lives of many different African-American people living in the inner city. It may show some of the more negative depictions like drug dealers, poverty and drug addicts but it also shows positive images too like in the case of Juan and his girlfriend or even in music being played. It showcases some surprising things as well as how Juan the pusher can be a very smart man. It even dispels some myths we have of inner city people. Like how Juan was good at handling Chiron’s homosexuality and gave him words of comfort while Paula acted out in hostility. Usually you’d expect ‘gangstas’ to have a homophobic attitude. It showcases what it’s like to be black and gay in the inner city. It also showcases people’s insecurities. It is overall one man’s attempt to find himself in the harsh world that he lives in. Yet despite all its harshness, it becomes something beautiful in the end.
The film is a triumph for Barry Jenkins. This is actually his second feature as a director. His first film, 2008’s Medicine For Melancholy, won a lot of attention and even earned him many directorial debut awards. Moonlight is only his second feature. This film which he adapts a script from a drama school project from Tarell McCraney is a masterpiece in both the story and its direction. The script is also excellent that there is not too much dialogue but is able to say lots even in the silent parts. Another quality of the film; it says a lot while saying very little. Overall the film is a real delight to watch and leaves one wondering what Jenkins will have next.
The three actors who portrayed Chiron– Alex Hibbert, Ashton Sanders, and Trevante Rhodes- all did a very good job with the role and portraying him at the right ages. Mahershala Ali was excellent as Juan: the pusher who becomes a mentor to little Chiron for that brief period of time. Ali had to bring the right charisma and character for a role like Juan to work not just in his scenes but to have an influence throughout the whole film. He did a stellar job. Also excellent was Naomie Harris. Possibly the one actor or actress to be a part of all three scenes, Harris was excellent as the drug-addicted mother Paula. She had to go through three stages with her role from a simple crack user to a crack addict to recovering in rehab. Each time she had to give her role dimension and inner depth to keep it from being cardboard. She did excellent too. There were additional supporting roles that were also good like Janelle Monae as Teresa and Andre Holland as the adult Kevin.
The technical bits were also excellent. The film was edited very well, the cinematography from James Laxton was possibly the best of the year. The score from Nicholas Britell was excellent but the inclusion of track music from classical to Latin to funk to hip-hop to Aretha Franklin to Motown really added to the feel of the movie. Almost feels like an anthology. In fact that scene when Kevin sees Chiron (as Black) after so many years and plays the classic Hello Stranger is one of the best scenes of the film.
Moonlight is a story of a young black man coming of age in the big city but it’s a lot more too. Those who’ve seen it will know why this film is a masterpiece.
And there’s the first of my Best Picture summaries for this year. Next one coming up in a few days.
I’ll admit I did not see Blue Jasmine when it first came out in theatres. The Oscar buzz for it prompted me to watch the DVD. I’m glad it did and now I know why it’s buzzing.
Jasmine comes off a plane from New York to San Francisco. She tells the elderly female passenger next to her the story of how she used to be a top socialite in New York but is near broke and hoping to start a new life. She appears to have impressed the passenger but we learn in a conversation to her husband she didn’t welcome herself to Jasmine. Jasmine then goes to her sister Ginger’s apartment. The bizarre thing is Jasmine hardly ever gives Ginger any contact but is now seeing her because of her dire straits. It’s funny since Ginger–whom is actually sister to Jasmine via her parents’ adoption–always credited Jasmine as having the good genes. The problem is that even though Jasmine is drowning in debt, she’s still set in her opulent ways.
Frequently Jasmine flashes back to her luxurious past with her husband Hal and her stepson Danny. Life was good for Jasmine and Hal appeared to be very successful as an investor It’s years ago when Ginger and her original husband Augie come to visit her in New York that things started to decline. First Jasmine offers an investment opportunity for Augie through Hal with the $200,000 he won in the lottery: money Augie was planning to use to start a business opportunity for himself. Augie and Ginger thought they’re being treated by Jasmine with a stay at the Marriott and their car and driver but Jasmine put them there because they cramped her style. It’s right during one of their sightseeing tours they noticed Hal kissing another woman.
It later became clear that Hal is a fraudster who would eventually get arrested, convicted of fraud, sentenced to prison and later committing suicide. Augie’s money was lost and it led to Augie and Ginger’s divorce. Ginger forgives Jasmine even though Augie is still resentful but is now dating a mechanic named Chili, a man Jasmine resents at first sight and gives Ginger snide remarks about him. The remarks cause Ginger to leave Chili much to his hurt.
Jasmine comes to San Francisco in hopes of starting a new life. She missed completing her anthropology degree because she fell for Hal. She wants to become an interior designer but has to take courses online and lacks computer skills. She reluctantly takes a job as a receptionist at a dentist’s office. Nevertheless it does not work out as Jasmine finds the job too stressful for her and receives unwelcomed sexual advances from the dentist.
Things do improve for Jasmine as she falls in love with a wealthy widower named Dwight who’s a diplomat with plans to become a congressman. Ginger also meets a new love named Al at the same party. Jasmine is able to win Dwight’s affection through lies of her being married to a doctor who died of a heart attack. The lies fall through when Augie bumps into them on the street and tells the whole story, including the details that her stepson Danny is working in a record store in Oakland. Right in the car ride home Dwight calls off the engagement and leaves Jasmine on the street. She visits Danny at the record store to no avail. Danny didn’t even want Jasmine to know his whereabouts. He wants to leave the past behind which means never seeing Jasmine again.
It’s right in a flashback at the end we learn of when Jasmine confronted Hal of his many affairs. Hal confesses he wants to divorce her in favor of a teenage maid for Danny. That was when she called the police and had Hal arrested for fraud which led to his imprisonment and suicide. In the end, Jasmine has to face the music for what she did to Danny, to Augie, for her interference with the love between Ginger and Chili, and herself in general.
It seems odd at first to see a Woody Allen movie classified as a drama. We’re all used to Woody Allen doing comedies. Mind you it’s after seeing this movie that there are a lot of elements that are darker than what one would expect in a Woody Allen film. It succeeds in not being too comical and even serious in some of the harsher parts of the movie. Nevertheless there are a lot of comical elements in this film despite the situation.
If there’s one thing that it does have in common with Woody Allen movies, it’s that it ends completely unexpectedly. It’s bizarre that you think things are going to go better for Jasmine in the end. Instead it all ends up worse, she fails at making peace with whatever wrongs of the past she did, whatever improvements in her own life fell through the cracks and she’s left all alone. She’s even confronted of her real name: Jeanette. She is the type of rich phony whom could easily charm and impress anyone but had a lot to hide and hid it well at the time. In the end, she has nothing left to hide and no one left to charm. She goes from being the life of the party to a person not even one on a park bench would want to be around. It’s also surprising since Jasmine would remind some of Scarlet O’Hara in Gone with The Wind. Sure, Scarlett lost it all in the end too but she still held her head high at the very end with a sense of hope. Here, you don’t see a hint of ‘Tomorrow is another day’ in Jasmine.
Sometimes I think it’s not just a story to do about a socialite who gets a reality check but sometimes I think it’s a message from Woody Allen. For all intents and purposes, you’d probably know that Woody Allen is not the type who likes to go to big Hollywood parties. He hardly even makes visits to the Academy Awards. Sometimes I think his is his statement about the social scene and the phonies involved with it. It’s also a story with a lot of good relevance. It may have been more relevant had it been done ten years ago as Paris Hilton was constantly embarrassing moment after embarrassing moment upon herself, and getting more famous off of it in the meantime. Nevertheless it still does show relevance as Kim Kardashian’s exploits still make a lot of copy, if not the same hugeness of copy as say two years ago.
Yes, Woody Allen did a very good job of directing and writing this story but it was Cate Blanchett who did the greatest effort in making the character of Jasmine. The interesting thing is that Cate succeeds in making Jasmine to be the charismatic but snooty, phony, superficial, self-indulgent, materialistic socialite who deserves to be looked down upon. But she does something else. Right at the very end, she succeeds in making us actually feel from sympathy for Jasmine. Sure she went from impressing everybody to causing great personal and financial harm to others and ending up with nobody. But for some reason, the end scene actually succeeds in making us feel for Jasmine. What was it? Her willingness to try to do better? Her coming to her senses too much too late? Whatever it was, that was something hard to do and I give Cate great kudos for pulling that off. I think that’s why she has that edge in the Oscar race.
The best supporting performance has to go to Sally Hawkins as Ginger: the sister that’s supposedly the inferior one but comes off as the winner in the end. Sally also did a very good job of character acting and made Ginger into a believable and colorful personality. Finally we see which sister has the ‘good genes.’ The female leading roles were the best of the film but the male roles were also great from Alec Baldwin playing the scamming superficial Hal, to Bobby Canavale as the ‘inferior’ Chili, to Michael Stuhlbarg as the sleazy dentist, to Peter Saarsgard as the politician Jasmine has a second-chance with to Andrew Dice Clay as the distraught ex-husband of Ginger (and I hardly noticed any of the ‘Dice Man’ in him). The women ruled the movie but the male supporting roles also added to the story and contained character flares of their own. The movie didn’t really have too many stand-out technical aspects but the scenic cinematography and the music tracks added to the movies charm.
Blue Jasmine has all the ingredients of a Woody Allen movie. Only it’s more of a drama than a comedy. Nevertheless it’s something Woody and the actors pull off excellently to make it work.