The Wandering Earth
I can't think of another recent computer-graphics-driven blockbuster that left me feeling this giddy because of its creators' consummate attention to detail and infectious can-do…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An obituary for the late Polish master, Andrzej Wajda.
HAPPY BELATED BIRTHDAY TO THE EBERT CLUB!
Marie writes: kudos to club member Sandy Kahn for finding this - as I'd never heard of the Bregenz Festival before, despite the spectacular staging of Puccini's opera Tosca and which appeared briefly in the Bond film Quantum of Solace; but then I slept through most of it. I'm not surprised I've no memory of an Opera floating on a lake. Lake Constance to be exact, which borders Germany, Switzerland and Austria near the Alps...
Tosca by Puccini | 2007-2008 - Photograph by BENNO HAGLEITNER(click to enlarge)
View image From "The Bitter Tears of Petra von Kant" -- one of the best movies, and movie titles, ever. Say it five times.
Back when the New German Cinema was colonizing America, my friends and I liked to transform our favorite actor-names, especially those from Fassbinder movies, into exclamations. "Ulli Lommel!" we would exclaim. Or, "Gottfried John!" (with a W.C. Fields inflection). Or, "What the Harry Baer was that!?!" The moniker-musik of Fassbinder's cinematographers alone still fill me with joy: Michael Ballhaus, Dietrich Lohmann, Xaver Schwarzenberger, Jürgen Jürges...
My dream was to hear the complete cast and credits of "Berlin Alexanderplatz" read by a National Public Radio on-air personality. Sure, every name sounds great when pronounced on NPR -- and especially "Sylvia Poggioli" or "Corey Flintoff." (I love how the second syllable of "Flintoff" falls off, like it's going over a cliff. Say that last sentence out loud. It's fun.) But what if you put the two together? It could be like peanut butter and chocolate.
What follows is a list of very, very good names for your enjoyment. They are best when you speak them with impeccable diction. And don't forget the umlauts, where appropriate. While you're doing that, can you also figure out which ones are from NPR and which are from Fassbinder? After scrambling the two lists of my favorites I'm not sure I can anymore. I will, however, say this: Rüdiger Vogler. (He's a Wim Wenders actor, not a Fassbinder vet, but he's a damn fine one with a damn fine name and I wanted to get him in here somewhere.)
UPDATE: You want to hear how it's done? Our Man In Istanbul, Ali Arikan, reads some Fassbinderian names with poetic precision here.
Before the jump, here's a few to get you started -- but beware, there are three tricks!
1 Kai Ryssdal 2 Kurt Raab 3 Peer Raben 4 Mara Liasson 5 Ulla Jacobsson 6 Annabelle Gurwitch 7 Elisabeth Trissenaar 8 Ira Flatow 9 David Folkenflik
Armin Mueller-Stahl at the head of the table, head of the family
You are going to hear a lot about this, so I may as well begin with it: There's a fight scene in David Cronenberg's Russian mob thriller "Eastern Promises" that is sure to go down as a raw, brutal and pulse-pounding landmark in the history of fight scenes. It takes place in one room, with no props except for a couple knives. People in the audience at the Toronto screening I attended were flinching and gasping as if they were being punched in the face. Which, of course, is the idea. If a fight scene doesn't make you feel like you're part of it, so that it quickens your heartbeat and your breathing, then it's a failure. And Cronenberg's makes you realize how many movie fights are flops -- and how really hard it is to kill or immobilize a human being with your arms, legs, feet and hands.
Literally and figuratively, "Eastern Promises" has balls.
And in this sense, it reminds me of both the excruciatingly protracted struggle between Paul Newman and the Russian agent in "Torn Curtain," and the knock-down, drag-out fist-fest between Keith David and Rowdy Roddy Piper in John Carpenter's "They Live!
Lamppost-spined Viggo Mortensen and Naomi Watts.
Directed in a bold, graphic style similar to that of his previous film, "A History of Violence," "Eastern Promises" is shockingly gorgeous, for all the ugliness it portrays. The film is set in London, and the colors are dark and heavy: gray skies, slick black streets, brandy, absinthe, venous blood. A hospital midwife (Naomi Watts) finds a patient's diary that gets her involved with Russian gangsters -- in particular, a shrewd and ambitious chauffeur played by "History of Violence" star Viggo Mortensen, looking sharper and more angular and cooly abstract than ever. (Watch the way he props himself against a lamppost so that they become extensions of each other. How does he do that?)
It begins like a Cronenbergian horror movie, and becomes... a Cronenberg gangster movie -- an elemental struggle between good and evil, life and death, east and west, blood and money, trust and betrayal, commerce and morality, mind and body. Remember, that's "elemental," not "simplistic." There are... complications.
More when the movie opens.
NOTE: Watts' proud, abrasive, vodka-swilling Russian uncle is played by the great Polish director, Jerzy Skolimowski ("Deep End," "The Shout," "Moonlighting").
View image He's mad as hell...
Tom Wilkinson has probably won an Oscar nomination for supporting actor in "Michael Clayton" before he ever appears on the screen. Or he should, anyway. But then, he should also be competing with (just to mention some of the other supporting male performances I've seen in Toronto thus far) the likes of Vince Vaughn, Hal Holbrook and especially Brian Dierker in "Into the Wild"; Tommy Lee Jones and Javier Bardem in "No Country for Old Men" (or are those leading actor performances?); Armin Mueller Stahl and Jerzy Skolimowski (!) in "Eastern Promises"; and definitely Sydney Pollack in "Michael Clayton"...
Now, I am not one of those people who come to Toronto for Oscar-spotting purposes. But "Michael Clayton," written and directed by "Bourne" series screenwriter Tony Gilroy, is the kind of smart, crisp, "serious" mainstream entertainment that gives Hollywood (or the part of it influenced by George Clooney) a good name. I guess you could describe it as a Manhattan "legal thriller" -- most of the main characters are corporate lawyers -- that strikes a delicate tonal balance between the cynical political paranoia of the "Bourne" movies, the satirical paranoia of "Network," the corporate paranoia of "The Insider," and the legalistic paranoia of "Erin Brockovich." And, as in all these movies, when you're feeling paranoid, it doesn't mean somebody isn't out to get you.
Wilkinson finds that perfect chord, and establishes the tone of the movie, in his off-screen opening monologue, a breathless rant of a voice message left for his fellow attorney, the eponymous Michael Clayton (Clooney), the firm's "fixer" who is called in to take care of delicate "problems" for a rich and powerful clientele. Wilkinson's character, Arthur Edens, is a brilliant lawyer who's been working for more than a decade on a single case, involving a chemical manufacturer that, after the usual cost-benefit analysis, released an agricultural product with toxic effects on humans. (The company's earth-friendly TV spots will look painfully familiar to PBS viewers, where such underwriting entities are expert at peddling their green corporate citizenship.)
Arthur is also manic-depressive, and he's gone off his meds, and he's raving about the moment of clarity he's having about the dirty, soul-killing business he's in. He's like Peter Finch in "Network," only his volcanic monologues aren't quite so messianic. (But then, he's not working from a Paddy Chayevsky script, either. Actually, I think "Network" would have been a better movie if it had been written and directed more in the style of "Michael Clayton." That is, a bit more dryly.)
View image Clooney and Pollack: These guys are good. Really good.
The movie revolves around the title character's face, and its hard to think of another actor who could hold it together the way Clooney does. His eyes reveal a quicksilver intelligence -- always sizing up the situation, figuring out how best to play it, even when he's utterly lost -- that Clooney can do without looking like he's trying. He doesn't give things away, he just registers enough to for you to notice without noticing that you're noticing. And that's a considerable accomplishment (especially when you remember how broadly, goofily dumb he can also play with supreme confidence, as in the Coens' "O Brother, Where Art Thou?"). Equally adept, and really fun to watch, is Tilda Swinton as an ambitious corporate climber, who rehearses her every statement while nervously trying on the appropriate uniform for each boardroom crisis. (Look for Ken Howard and Miles O'Keefe in surprising roles as professional office politicians.)
And there's ever-reliable Sydney Pollack, who has become one of my favorite character actors ("Husbands and Wives," "Eyes Wide Shut," "The Sopranos"). The man is a consummate actor, so effortlessly natural he can make others look mannered next to him. That makes him the ideal foil for the comparably relaxed style of Clooney, and their scenes together are especially fun to watch. They also provide Wilkinson with something solid that he can bounce his wild, unpredictable serves off of. (I feel about Pollack the opposite of how I feel about Sean Penn: the former is a better actor than a director, and with the latter it's the other way around. Pollack is a producer on the film -- and Clooney, Steven Soderbergh and Anthony Minghella among the executive producers -- and I mean no slight when I say I found myself grateful that they decided to let, or enable, somebody else to direct this one.)
Gilroy does just fine in his directorial debut. His style suits his actors (and, for that matter, his leading characters): handsome, smart, economical. Three of the last four shots in the film (number three is simply a bridge between two and four) are quiet stunners, though I would have cut to black about two or three seconds earlier at the end. The first of these final shots sums up the virtues of the film ideally: While quite naturally following the trajectory of one character in the foreground, the fate of another is captured in the same frame, but out of focus and in the receding background. It's another perfect note, and it's handled so deftly you could almost miss it. You won't, though -- and the great thing is you'll feel like you discovered it yourself. Along with everybody else in the audience.