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Archive for the ‘Steve Buscemi’ Category

The Death Of Stalin

25 Mar

The Death Of Stalin – directed by Armando Ianuucci. Political Comedy. 107 minutes Color 2018.
★★★
The Story: The Russian head of state dies and everyone squabbles as to who shall inherit the state?
~
The Death Of Stalin is directed with the lightning speed of farce – but it is not farce. It is gallows humor and so to be funny must be delivered gravely. It is not.

I fell asleep. Or you might say I passed out from the metronomic monotony of things dashing by in front of my eyes, the dulling hypnosis of looking into a kaleidoscope, ever turning, ever brilliant, and therefore indecipherable, and therefore tedious. We see everything in a whisking mosaic of scenes and are permitted to dwell on nothing. No scene is allowed to develop, and the visual jokes are taken for granted as funny, although, even so, some of them really are funny.

I went to the picture wanting to like it, and wanting to like helps one to, but it wasn’t kind to me. It is not measured to the level of the audience of those over 50 who know its Russian nabobs, who convene and plot, then plot on their plots – a shell game, in which the eye is not faster than the play, and you soon walk away out of patience with the trick that over and over again fools with you.

Also true is that the English actors speak too fast to be heard, and they are doubly incomprehensible because they speak English while they are doing it. American actors such as Steve Buscemi, who as Nikita Khrushchev shoves Stalin’s heirs around, is perfectly audible doing so speaking precision Brooklynese, while American actor Jeffrey Tambor ornates the film with his depiction of the mealy-mouthed Malenkov, a sort of zombie in a girdle, perfectly cast like everyone else.

The picture takes the form of a mordant wake in which everyone behaves badly because the corpse has trained them to. But the story arose not from an original screen play, but from a French comic book.

Now, most films these days, it would seem, do arise from comic books, and this has been going on at least since the Tarzan movies. The one great difference between such a movie as The Death Of Stalin and a comic book is this: a comic book is not whisked out from under your eyes as you look at it. You can linger long enough upon a comic book for it to register.

The remedy: First Kill The Editor! Oh, but before that kill The Director! Or maybe, as Beria would have it: Kill Everybody!

 
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Posted in ACTING STYLE: INTERNATIONAL REALISTIC, Steve Buscemi

 

Norman

14 May

Norman – written and directed by Joseph Cedar. Drama. 119 minutes Color 2017.
★★★★★
The Story: An obnoxious New York operator finds himself out of his depth in the charmed circle of The Great.
~
Norman is called a fixer. Actually, he is more the Jewish male version of Dolly Levy, a matchmaker. He’s a connecter. He’s a webmaker. A deal-maker. He’ll introduce you to someone who has a skill that can help you to get something that will cost a certain amount of money which can be raised by someone else he knows who also knows a relative of your aunt Mini. And a percentage might accrue to him in passing.

Thing is, Norman is mighty annoying. He will not let up. He’s a pesterer. He bends your ear no end.

He’s not a sleazebag. He wears a good coat. But he’ll accost you in the park, in the men’s room, in the synagogue. That is to say he’s an unavoidable irritant who won’t be said no to, like an itch.

Richard Gere, one of our “detestable” actors, is perfectly cast playing him. Since he’s not an actor whom you can get behind, your sympathies are held in abeyance as you watch the spectacle of Norman’s maneuvers.

And you start to suffer for him in his humiliations and in the way he forgives insult and how he sticks to his guns.

We don’t find American films devoted to character study, but here one is, so let’s rejoice. The film is beautifully edited, shot, and told. Superbly acted.

Its director/writer is of the Ernst Lubitsch school of directing, which means that he provides the audience with plenty of chances to do the story telling for themselves. He does this by what he leaves out, so the audience can supply it. And he gives us deliciously long scenes for us to supply it in.

This method lends itself to the visual strength, the motion of motion pictures, the moving on the screen of moving pictures. We have two characters who appear to be standing almost in the same room talking to one another on cell phones, but they are continents apart. We do the work of separating the locations and knowing the separation is immaterial. A wordless jest. We have a pair of shoes to which we supply drama, comedy, tragedy in turn, not a word said.

Norman is a witty, engrossing, and surprising movie experience. Deprive yourself of it not.

 
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Posted in ACTING STYLE: AMERICAN REALISTIC, Richard Gere, Steve Buscemi

 
 
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