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Archive for the ‘Adam Driver’ Category

Marriage Story

10 Dec

Marriage Story—directed by Noah Baumbach. Comedrama. 2 hours 16 minutes Color 2019.
★★★★★
The Story: A professional business couple come to grips with themselves.
~
Well, if you’re interested to preview the Oscar winners for best actor and actress this year, watch Marriage Story to see Scarlett Johansson and Adam Driver exceed themselves in it.

Both are wedded not to one another but to their calling, and both are stubborn as all get out.

That’s the situation but the execution of it by the writer who wrote it and the director who directed it, who happen to be the same person, liberates these actors, as he does the situation, so that truth be told on a scale and with an intensity seldom witnessed on the screen.

We are not talking about dead end kids here, but already accomplished middle class professionals on their way up to be established. So, for me, the ground is familiar. They are talking a tongue I know.

I saw the picture on Netflix last night. I am an ignorant person, for I thought it just came out at the local. Indeed, as you read, it still plays there. Maybe they have to release pictures in theaters by New Years to qualify for Oscars. Be that as it may, nothing is lost in watching this movie at home, for it depends for its impact less on the wide-screen spectacle movie screens prefer, but rather on a different sort of spectacle, that offered to close-ups.

And that really pays off as I see it on my iMac. For the writer has written at two points long monologues for his actors, the first delivered by Johansson to her shrink. I had never thought much of Johansson as an an actor, until I saw her do a short character part or two, where she surprised me. But now—wow—the director dispenses with that drain on our attention, the reaction shot, and lets the camera stay on her through the entire speech. He gives her to us wholly. I was so happy for her. Here was an actor at her best, here was an actor at the peak of her craft, here was an actor doing what she hoped one day to give when she started years ago.

Adam Driver’s turn comes later which you’ll recognize by your shock when you come upon it. He is one of those actors who, like Edward G. Robinson, one cannot take one’s eyes off of. Why? He is not homely, he is not handsome, he is not sexy. He is that rare thing: mysterious. It is lodged in the space he keeps still between his sometimes narrow eyes and his rich thick lips. You never know what he is feeling until it cheekily surprises you. Here he is in peak form.

Everyone else plays it for satire and are at the top of their game too: Laura Dern’s Hollywood lawyer, Alan Alda and Ray (Liotta particularly) as other Hollywood lawyers. All credit to all.

And all credit to the audience whose understanding, delight, and attention this ruefully truthfully told tale its director and writer honors.

 

Silence

20 Jan

Silence – directed and written by Martin Scorsese. Drama. 2 hours 41 minutes Color 2016.

★★★★

The Story: Two Jesuit priests strike out for 17th Century Japan to find a long-lost mentor.

~

They become considerably waylaid on their search, for by 1610 Japan has killed all Catholic priests and suppressed Japanese Christianity as a cultural pollution. So the Japanese the two priests find are rude fisherfolk with scarcely a sardine to their name. But they welcome these priests as a godsend and they dote on Confession. The priests must go into hiding as they move from place to place.

And so the story goes, until doubt arises in the viewer’s mind as the validity of the doctrine the priests recite. It’s memorized too well. Haven’t we heard this palaver before?

Yes, we have, in every Hollywood movie that crossed paths with religion.

First of all, the actors talk in measured tones, each word stepping out their mouths at funereal pace.

Added to this, all the actors emotionalize religion utterance as though that would give brainwashing guts, authenticity, and urgency. It doesn’t. It just sounds forced.

Finally, the writer has cribbed the dialogue from old Cecil B. DeMille movies. The characters talk in sentences no one in their right mind ever uttered.

The fault for all this lies at the door of the director Martin Scorsese, who has seen too many Hollywood priest movies and become hypnotized by their voicing.

These dialogue difficulties fall cruelly upon the actor playing the leading priest, Andrew Garfield. He is not an interesting actor perhaps, and he is playing a character with no sense of humor. Indeed, he is playing a religious fanatic. This means he has no mind of his own, no window for change, and no law but the authoritarian. All the actor can do is give a technical performance: suffer on cue, suffer on cue, suffer on cue.

All this makes it impossible for us to get behind the character, particularly in scenes with characters who entertain.

These are Adam Driver as his buddy/priest. Garfield is conventionally good looking, while Driver has a face you cannot forget, and his character has a lot going on inside himself.

The Grand Inquisitor, with full and fascinating over-bite, is played by Issei Ogataa a performer of great imagination and surprise. We long for his return when he is gone. And when he does return, we watch nothing else.

Then we have the reprobate played by Yôsuke Kubozuka, the in-house-Judas, a character of Shakespearean interest, always betraying, always pleading for forgiveness, certainly the only true Christian in the film.

And fourthly Liam Neeson, who is simply great as the priest sought for. Neeson brings balance and conviction to his well-written argument at the end. Neeson actually has decent lines, and if you want to see how to deliver such lines, watch him play against them, moment by moment, with a sorrow at the truths he must utter.

Probably the Part Andrew Garfield plays would have been better played by an actor of Scorsese’s own age, Martin Sheen, perhaps, someone whose mettle had already been tested, someone rich in wisdom, and, most important, someone with an authentic God-shine to him. Garfield has beautifully photogenic hair, a subject for Caravaggio perhaps, but not enough halo for film. Nor for that matter for Caravaggio.

You watch the film with admiration for Scorsese’s skill. The impeccable production, the fancy camera angles, the costumes, the editing. Wow! But one’s admiration is bridled by want of content and lack of a character to get behind. Garfield is at his best when he loses everything he values and falls still, doctrine silenced.

But, if the film were designed to display Catholicism in the end as claptrap, the stillness does not go on long enough to drown the preluding clichés.

 

 
 
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