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Archive for the ‘Jacki Weaver’ Category

Silver Linings Playbook

01 Feb

Silver Linings Playbook – directed by David O. Russell. Family Drama. A Bipolar nut strives to reunite with his two-timing wife, and on the way meets up with a young promiscuous widow. 122 minutes Color 2012.
★★★★★
The preposterous notion that Love Conquers All is the Hollywood byword that rules this story, and we root for it as soon as ever we can, don’t we, well-trained poodles that we are!

The trouble is that the hero is an insane person, and it is never possible to link oneself to such a character, for two reasons: they are hopeless and they are annoying.

However, sanity sets in when another insane person crosses his path and they join forces on a project of physical dance, which grounds them and frees them.

Behind all this lurks the equally crazy figure of his father played in his usual way by Robert De Niro who is a bookie and a Philadelphia Eagles nut, glued to the superstition that his coo-coo son is his rabbit’s foot. De Niro provides a much needed comic leavening, and his wife, played superbly by Jacki Weaver provides the foundation in real emotion and common sense to the proceedings.

The two crazies are played superbly by Bradley Cooper and Jennifer Lawrence, but, of course, we cannot really take them seriously as humans until the dance practice begins and their self-centered ranting ceases.

However, while the film is beautifully directed and written up to that point, it collapses in both departments from that point on, and we are asked to appoint our credulity to the task of swallowing all sorts of unnecessary improbabilities in their romantic squabbles. It can’t be done. We choke.

What does work is the lengthly scene in which De Niro and his gambling partner work up a parley on the outcome of the Eagle’s game and the dance competition. This is highly suspenseful, beautifully performed, and fun. And besides we want Love To Conquer All, so we set aside our disbelief and our sense of the certainty that when love fades in color, madness will return fuelled further by the red truth that Love Betrays All.

But at least it’s given the opportunity to conquer. In Hollywood, Love is Rocky Balboa racing up a monumental flight of Philadelphia stairs. What is found at the top is The Hall Of Justice. Which we have no idea is standing there in wait for us.

 

Animal Kingdom

11 Mar

Animal Kingdom – directed by David Michod – Gangster Drama. A family of bank robbers and their mother welcome their nephew into the den. 113 minutes Color 2010.

* * * *

The inexcusably bumbling director on the Extra Features explains that this picture was meant to be large in scope and also austere. I could crown him. If the film were as phony as he is, I would, but the picture holds one’s attention because it does not spell out what it can let the audience gather on its own, and because of the Michod’s excellent writing and direction and because of the players who support the lead. Alas, the lead is played by an actor histrionically inert. He is means to be a David Copperfield character, a fill-in-the-blank person whom we are supposed to supply with ourselves. But the actor is too sleepy, too withdrawn, too dull for us to be or to want to be in the character’s shoes at any time. But this does gives one a chance to observe the various levels of performance around him, which range as they range in experience, the more experienced being the more telling. Every level is a high: level 1: Ben Mendelsohn, Sullivan Stapleton, Joel Edgerton as the gangsters. Level 2: Jacki Weaver as the Ma Barker of this group. Level 3: Guy Pearce. All Guy Pearce has to do is to quietly appear on screen for the entire artistic purpose of the film to take shape before one’s eyes. Here he has a scruffy and therefore un-menacing moustache in the role of the detective, which is a role within a role, since the profession of detective requires one already to play a role. Pearce’s task is largely one of inquiry, and nothing more needs be said about his performance but the fact, clear and simple, that as you watch him ask questions you can see that the character does not know the answers to them even though the actor does. This draws one into the situation, it produces suspense, it provides story. We, the audience, know the answers and the truth. And so we must wait out the issue of all of this until the end. This is an example of the enormous contribution this actor makes in movies in which he appears. The opening scenes of The Hurt Locker are a prime example of it. The rest of that film could not take place if he had not played those scenes the way he does. Fascinating.

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