Sunday, March 17, 2024

Dune-Part Two

 

Based on the novel by Frank Herbert, Dune-Part Two is the sequel to the 2021 film adaptation that follows Paul Atrides forming an alliance with the Fremen along with his mother and others from House Atrides to fight back against the forces of House of Harkonnen for the control of the planet Arrakis while there is some scheming behind the scenes from political forces in the universe. Directed by Denis Villeneuve and screenplay by Villeneuve and Jon Spaihts, the film follows the second part of Herbert’s epic novel as it plays into a young man accepting his fate and role as a leader in order to free the people who had been enslaved in their own home planet. Starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Dave Bautista, Charlotte Rampling, Josh Brolin, Austin Butler, Souhelia Yacoub, Florence Pugh, Lea Seydoux, Stellan Skarsgard, and Christopher Walken as Emperor Shaddam IV. Dune-Part Two is an astonishing and gripping film from Denis Villeneuve.

Following the fall of House Atrides on Arrakis in the hands of House of Harkonnen, the film follows the aftermath in which Paul Atrides (Timothee Chalamet) and his mother Lady Jessica (Rebecca Ferguson) join the Fremen in an act to reclaim the planet with other allies while also uncovering a conspiracy involving the Emperor Shaddam IV as well as revelations about Paul’s roles for the Fremen. It is a film that explores a young man who doesn’t just deal with loss but also a role that he is unprepared for as some see him as a messiah that would help the Fremen but the forces that oppose him become more uneasy as the Emperor as well Baron Vladimir Harkonnen (Stellan Skarsgard) deal with what he might bring. The film’s screenplay by Denis Villeneuve and Jon Spaihts definitely plays into Paul Atrides’ reluctance to be the messianic figure but also visions that he keeps seeing as he struggles with what might bring and such with his mother believing in this prophecy about Paul as she is also pregnant as she would rise into power of her own.

The first act plays into the Atrides being invited to the Fremen by its leader Stilgar (Javier Bardem) despite the fact that they’re outsiders yet Stilgar sees Paul as someone who could be this figure that could lead the Fremen into reclaiming control of Arrakis based on a prophecy that he believes in as Lady Jessica chooses to play into it when their ailing reverend mother is asking Jessica to replace her. Upon drinking the Water of Life, Jessica awakens her unborn daughter Alia whom she would communicate with as they decide to play into the prophecy and win over skeptics giving Stilgar more allies despite the skepticism of Chani (Zendaya) who believes that the prophecy is a lie created by religious fanatics. Still, Chani helps Paul in teaching him the way of the Fremen as they become lovers though Paul remains troubled by visions about him being this messianic figure while he helps in the rebellion against the Harkonnen who would be overwhelmed once Paul’s mentor Gurney Helleck (Josh Brolin) joins the fold having become a smuggler.

The second act serves as an introduction to the baron’s nephew Feyd-Rautha (Austin Butler) whom the baron would bring in to replace his older brother Glossu Rabban (Dave Bautista) who had failed to keep spice production going on due to the Fremen. Feyd-Rautha is a psychotic figure that proves to be just as dangerous as both his brother and uncle as he is observed by a Bene Gesserit maiden in Lady Margot Fenring (Lea Seydoux) for the Reverend Mother Gaius Helen Mohiam (Charlotte Rampling). It is in the second act where Gurney is re-introduced as he would learn about Paul’s actions as he joins the Fremen despite not believing in the prophecy as Paul becomes more troubled by the expectations of the Fremen just as the conflict with them and the Harkonnens intensify due to Feyd-Rautha’s new leadership. Paul would learn about the Emperor’s involvement as Princess Irulan Corrino (Florence Pugh) believes that Atrides is alive as she begins to question her father’s motives into the attack of House Atrides. It would all lead to revelations in its third act as well as a lot of political scheme and fanaticism with Chani becoming more troubled into the role that Paul has to play.

Villeneuve’s direction is grand in the way he presents this world of intergalactic conflict with a planet filled with sand as spice being the center of the universe as well as the source of this conflict. With scenes of Arrakis shot on location in Jordan and Abu Dhabi with additional scenes shot on location in Budapest, Villeneuve opens with Princess Irulan narrating about the events in her journal as she sees her father becoming troubled by what happened although the princess believes that Paul Atrides is alive. Much of Villeneuve’s direction includes a lot of wide and medium shots to play into the scope of the locations as well as maintain a sense of intimacy in scenes involving character interaction. Yet, the caverns, mountains, and cliffs do serve as major characters as it is a place where the Fremen live in hiding with a pool of water filled with the Fremen who have died. Villeneuve brings a sense of intrigue as well as the world that explore those who believe in this prophecy that Lady Jessica would exploit upon drinking the Water of Life as her unborn daughter would help play into this exploitation as she would later appear as an adult in one of Paul’s visions.

The dreams that Paul would have are these abstract and surreal visuals that showcase not just Paul’s fears of the future but also what it could be as it all plays into his reluctance into being this messiah for the Fremen. While Lady Jessica would able to get the reach of fanatical fundamentalists to support Stilgar’s cause against the Harkonnens and the emperor, Villeneuve does reveal a whole lot more as it plays into the fallacies of power with the emperor becoming someone who is losing influence on all of these houses as it becomes a source of contention he would have towards House Atrides. Villeneuve also plays into this sense of thrill as it relates to the sandworms that the Fremen are known for riding as it is something Paul would master and gain the respect of the Fremen as he would also learn how to travel towards south of the planet as it is a place that the Harkonnens couldn’t reach because of its sandstorms. Villeneuve also plays into this intrigue into the introduction of Feyd-Rautha as well as the Harkonnens’ home planet where it is shot largely in black-and-white as it is a stylistic choice but one that showcases why the baron favors him.

The film’s third act is about this eventual confrontation between the Fremen against the Harkonnens and the forces led by the emperor as the latter two would be unprepared for what they would face. Yet, there is a lot more happening as the Harkonnens meet with the emperor as there is not only this power struggle between the two but also other things that the princess would discover that would make her uneasy over this conflict. Even as the climax that involves Paul confronting his enemies as it would also lead to some uneasy compromises that would affect many as it also plays into what power corrupts and how those who engineer schemes and conspire are forced to watch their own fallacies but also face the actions of something much bigger that they unknowingly played a role in. Overall, Villeneuve crafts a riveting and astronomical film about a young man seeking revenge as well as becoming a messianic figure for a group of people in reclaiming their home planet.

Cinematographer Grieg Fraser does incredible work with the film’s cinematography from the stylish usage of black-and-white for the Feyd-Rautha fight at the Harkonnen’s home planet to the usage of sunlight for many of the exteriors and scenes in the cave along with usage of available light for some of the scenes in the morning as it is a highlight of the film. Editor Joe Walker does brilliant work with the editing with its stylish usage of jump-cuts, slow-motion, and rhythmic cuts to play into the suspense and action as well as some of the surreal montages in the film. Production designer Patrice Vermette, with supervising art director Tom Brown plus set decorators Zsuzsanna Sipos and Shane Vieu, does amazing work the look of the water pool inside the Fremen’s cave as well as the home of the fundamentalists and the design of the places at the Harkonnen home planet. Costume designer Jacqueline West does excellent work with the costumes from the ragged and sandy clothes that the Fremen wears as well as the clothes that Lady Jessica wears when she becomes a Reverend Mother for the Fremen and the clothes of Princess Irulan.

Hair/makeup/prosthetics designer Donald Mowat does fantastic work with the look of the Harkonnens in their pale-white skin as well as the makeup that Lady Jessica wears as the Reverend Mother. Special effects supervisor Gerd Nefzer and visual effects supervisor Paul Lambert do sensational work with the visual effects in the design of the sand worms in using prosthetics and CGI as well as the design of some of the weapons used in battles as well as the devices for Baron Harkonnen as he floats. Sound editor Richard King and sound designer Dave Whitehead do phenomenal work with the sound in the way some of dialogue is presented in Paul and Lady Jessica communicate in silence as well as the effects for some of the devices as well as the way the sand worms emerge as it is a highlight of the film. The film’s music by Hans Zimmer is tremendous for its usage of bombastic orchestral arrangements along with synthesizers and snarling guitars as it adds to the sense of chaos throughout the film that also include these wailing vocals that features work from Lisa Gerrard of Dead Can Dance while music supervisors Peter Afterman, Deric Berberabe, Alison Litton, and Carmen Murlaner add some ambient and electronic pieces as the whole music soundtrack and score is another highlight of the film.

The casting by Francine Maisler is superb as it feature some notable small roles and appearances from Roger Yuan and Babs Olusanmokun reprising their roles as two House Atrides officers who are forced to fight Feyd-Rautha as well as Souhelia Yacoub as Chani’s friend Shishakli who is also a skeptic over the prophecy, Dave Bautista in a superb role as Feyd-Rautha’s older brother Glossu Rabban who becomes overwhelmed by the Fremen attacks, and Lea Seydoux in a terrific small role as a Bene Gesserit nun in Lady Margot Fenring who seduces Feyd-Rautha in order to observe him in the hopes he can take down the Fremen. Christopher Walken is fantastic as Emperor Shaddam IV as the leader of the universe who was one of the figureheads in the attack of House Atrides as he copes with his fading leadership but also new threats as Walken is surprisingly restrained considering that the character could’ve been a bit more camp.

Charlotte Rampling is excellent as the Bene Gesserit Reverend Mother Gaius Helen Mohiam who is also a mentor to Princess Irulan as well as someone who has played a key role in the attack of House Atrides as she sees Paul as major threat as well as displaying a sense of ambiguity over what is to come. Stellan Skarsgard is brilliant as Baron Vladimir Harkonnen as the head of House Harkonnen who is eager to take advantage of controlling Arrakis yet becomes troubled by the Fremen rebellion as well as who is leading them. Josh Brolin is amazing as Gurney Halleck as Paul’s mentor and former military leader for House Atrides as he had become a smuggler as he would aid Paul in this rebellion yet is not fond of this religious fanaticism but chooses to stay silent as an act of loyalty towards Paul. Javier Bardem is incredible as Stilgar as the Fremen leader who sees Paul as this messianic figure based on a prophecy as he becomes a mentor and later be someone who would gather many allies believing that it would help the Fremen.

Rebecca Ferguson is sensational as Lady Jessica Atrides as a Bene Gesserit nun who becomes a Reverend Mother for followers in Arrakis as she would help gather many followers in playing up this prophecy as she brings an ambiguity into someone that would gain power but also at the extent of her son’s well-being and humanity. Austin Butler is great as Feyd-Rautha as Baron Harkonnen’s youngest nephew who is this psychotic figure that is beloved by the people in his planet as a skilled fighter as well as someone who is eager to prove him to himself as a leader where he finds a formidable opponent in Paul as Butler definitely brings a lot of nuances to the character but also an unexpected humanity that makes him unique. Florence Pugh is tremendous as Princess Irulan Corrino as the emperor’s daughter who records in her journal over what happened at Arrakis while believing that Paul is alive as she begins to question into what had happened and why where she also questions the motives of both her father and her mentor in Reverend Mother Gaius Helen Mohiam.

Zendaya is spectacular as Chani as a Fremen rebel who is becomes Paul’s lover while is also troubled by people making him into a messiah as she is the film’s moral compass as someone who gets to know Paul as a human being but also is forced to watch him accept a role he doesn’t want but needs to play. Finally, there’s Timothee Chalamet in an astonishing performance as Paul Atrides as the son of that late Duke Leto Atrides who is eager to get revenge over what happened to his father but also learn about the ways of the Fremen. Chalamet’s performance also has a complexity of a man that becomes conflicted into the role he is asked to play where he also has to deal with surreal dreams and sacrifices where he would accept this role of rebellion but would also facing a future of immense uncertainty over what he might do.

Dune-Part Two is a magnificent film from Denis Villeneuve. Featuring a tremendous ensemble cast, ravishing visuals, a story of rebellion and the struggles of being a messiah, Hans Zimmer’s visceral score, and immense technical work. It is a film that isn’t just this great follow up to the 2021 film but also help book end the novel both films are based on as well as create a sci-fi epic that is willing to challenge audiences as well as showcase a world that is astonishing. In the end, Dune-Part Two is an outstanding film from Denis Villeneuve.

Denis Villeneuve Films: August 32nd on Earth - Maelstrom - Polytechnique - Incendies - Prisoners (2013 film) - Enemy (2013 film) - Sicario - Arrival (2016 film) - Blade Runner 2049 - Dune-Part One - (Dune: Messiah)

Related: Dune (1984 film) - Jodorowsky's Dune The Auteurs #68: Denis Villeneuve

© thevoid99 2024

Wednesday, March 13, 2024

Phoenix (2014 film)

 

Based on elements from the novel Le Retour des Cendres (The Return from the Ashes) by Hubert Monteilhet, Phoenix is the story of a cabaret singer who returns to Berlin just after World War II ended to find her husband to see if he was the one who informed her to the Nazis and sent her to Auschwitz. Directed by Christian Petzold and screenplay by Petzold and Harun Farocki, the film is an exploration of a woman trying to find answers as she also has a reconstructed face following a serious bullet wound making her unrecognizable. Starring Nina Hoss, Ronald Zehrfeld, Nina Kunzendorf, and Imogen Kogge. Phoenix is an entrancing and haunting film from Christian Petzold.

Set in the events after World War II had ended, the film follows a woman who returns from Auschwitz, with a destroyed face due to a serious bullet wound, as she has her face reconstructed where she goes on a search for her husband to see if he was the one who sent her to Auschwitz. It is a film with a unique premise as it plays into a woman trying to reclaim her identity but also deal with what happened to her and if her husband had betrayed her. The film’s screenplay by Christian Petzold and Harun Farocki is loosely based on its source material as it explores a woman who copes with having lost her face but also her identity the moment she finds her husband who doesn’t recognize her at all. Yet, he would rope her into a scheme where she would pretend to be his wife in order to get her family inheritance with her getting a small cut. It would play into this conflict that the main character of Nelly Lenz (Nina Hoss) would endure as she is still in love with her husband Johnny (Ronald Zehrfeld) although her friend Lene (Nina Kunzendorf) discovers a shocking truth while trying to find information about Lenz’s family whether they survived the Holocaust or not.

Petzold’s direction is definitely mesmerizing as it opens with Lene driving Nelly towards a hospital in the U.S. sector as Nelly is forced to show her deformed face to a guard though Petzold doesn’t show anything. Shot in various locations in Germany and parts of Poland, Petzold does play into this world of post-war Germany in which a country is coming to terms with loss, regret, and reconstruction as it sort of serves as a metaphor for what Nelly is facing as she’s first seen covered in bandages realizing that she might not regain her old face. While there are some wide shots of some of the locations, much of Petzold’s direction is intimate in its usage of close-ups and medium shots to play into not just the evolution of Nelly’s face but also in moments where she obscures it as if the scars are still there though they’re barely shown after the surgery. Yet, Petzold does maintain this ambiguity when Nelly walks into this nightclub wondering if Johnny works there as she sees him but he doesn’t recognize at all as she was sporting a few bandages and such.

Petzold’s approach to ambiguity also plays into Johnny’s scheme upon meeting Nelly who pretends to be another woman in Esther as she would only tell about this plan to Lene who is aghast over this as she really wants nothing to do with Johnny. Still, Nelly plays along to Johnny’s scheme as she wonders if he cares about Esther where she believes she had reclaimed her identity but questions about what happened the day she was arrested start to come in. Petzold would play into this air of dramatic suspense where Nelly would learn about Lene’s discovery as it adds a lot more intrigue into its ending which plays into Johnny’s scheme. Even as the climax is this scheme that would involve old friends who have no idea what is going on as if they’re about to meet Nelly for the first time in years but it is in the final scene as it relates to their past life. Overall, Petzold crafts an intoxicating and rapturous film about a woman who returns from Auschwitz with a new face to find her husband and find out the truth on the day they were separated.

Cinematographer Hans Fromm does brilliant work with the film’s cinematography with some of the stylish lighting for the nighttime interior/exterior scenes of the Phoenix nightclub where Johnny works at as well as some of the usage of low-key natural lighting at the home where Nelly lives with Lene. Editor Bettina Bohler does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the drama as well as a few moments of dramatic suspense. Production designer K.D. Gruber, with set decorator Christin Busse and art director Merlin Ortner, does amazing work with the home that Nelly and Lene live in that is spacious that is a direct contrast to the small apartment basement that Johnny lives in while the interiors of the Phoenix night club is also cramped yet lively. Costume designer Anette Guther does fantastic work with the costumes including the red dress that Nelly used to wear as it would be a key piece of clothing that she would wear for Johnny’s scheme.

Makeup artists Barbara Kreuzer and Alexandra Lebedynski do incredible work with Nelly’s evolving look from being covered in bandages to wearing little bandages as she’s recovering where it plays into her development as the makeup work is a highlight of the film. Special effects supervisor Bjorn Friese does terrific work with some of the film’s minimal special effects that include bits of set dressing as well as a few bits in the film’s opening scene. Sound designer Dominik Schleier does superb work with the sound in the way a room sounds when it is quiet or how a nightclub is when it is loud as it help plays into the drama that occurs throughout the film. The film’s music by Stefan Will is wonderful for its somber jazz-orchestra score that plays into the drama and suspense as the music soundtrack also feature some standards of the times including renditions of songs by Cole Porter and the duo of Kurt Weill and Ogden Nash.

The casting by Simone Bar is marvelous as it feature some notable small roles from Eva Bay and Valerie Koch as a couple of cabaret performers at the Phoenix club, Uwe Preuss as a club goer that tries to flirt with Nelly, the quintet of Frank Seppeler, Daniela Holtz, Kathrin Wehlisch, Michael Wenninger, and Claudia Geisler-Bading as old friends of Nelly and Johnny whom the latter is trying to scheme on, and Imogen Kogge as Lene’s housemaid Elisabet who runs the home that Lene and Nelly live in while also being disapproving over Nelly meeting Johnny. Nina Kunzendorf is incredible as Lene as a longtime friend of Nelly who retrieves her from Auschwitz as well as working for the Red Cross who makes a chilling discovery about Johnny as she wants nothing to do with him while is also disapproving over Nelly’s pursuit to reunite with him.

Ronald Zehrfeld is phenomenal as Johnny “Johannes” Lenz as Nelly’s husband who is trying to create a scheme in getting Nelly’s inheritance believing she had died unaware that Esther is really Nelly where he does what he can to make sure she’s like his wife where he later becomes conflicted as he starts to fall for Esther. Finally, there’s Nina Hoss in a spectacular performance as Nelly Lenz as a Jewish woman who was sent to Auschwitz only to survive despite a serious bullet wound to her face as she deals with her new face as well as a loss of identity where she tries to reclaim it through her reunion with her husband only to realize that he doesn’t recognize her. It is this multilayered performance from Hoss that showcases a woman that is blinded by love but also troubled by revelations into what he did to her as well as the fact that he thinks she’s someone else as it is this ravishing performance from Hoss that remains haunting following its last shot.

Phoenix is a sensational film from Christian Petzold that features great performances from Nina Hoss, Ronald Zehrfeld and Nina Kunzendorf. Along with its story of loss and longing, gorgeous visuals, and a somber music score. It is a film that explores a woman’s desire to reunite with her beloved despite the loss of her face but also deal with dark truths about the night her life changed as well as realizing that the past can’t be replicated. In the end, Phoenix is a tremendous film from Christian Petzold.

Christian Petzold Films: (The State I Am In) – (Wolfburgs) - (Ghosts (2005 film)) – (Yella) – (Jerichow) – (Barbara (2012 film)) – (Transit (2018 film)) – (Undine) – (Afire)

© thevoid99 2024

Saturday, March 09, 2024

20 Days in Mariupol

 

Written, directed, and co-shot by Mstyslav Chernov, 20 Days in Mariupol is a film in which Chernov and his colleagues spend 20 days under siege in Mariupol following Russia’s invasion of Ukraine in February of 2022. The film showcases journalists covering a worldwide event as well as showcase the horrors of war as a country tries to defend itself against its invaders. The result is a terrifying and harrowing film from Mstyslav Chernov.

On February 24, 2022, Russia under the claims they’re to be attacked by the neighboring country of Ukraine would send troops, tanks, and forces to the country where the port city of Mariupol that is near the Russian border. For 20 days under siege in the city, Ukrainian journalist Mstyslav Chernov along with colleagues including still photographer Evgeniy Maloletka would cover the events of Mariupol for the Associated Press as they would stay in the city evading snipers, ground troops, and such during the course of these 20 days. The film is about Chernov’s coverage of Mariupol being under siege as well as him and his colleagues surviving 20 days as they cover the events and release them to the press against many odds.

Through the usage of phones and video cameras, Chernov and his colleagues capture the sense of silence that is happening before the war as Mariupol looks like any normal city with houses and buildings but it would be gone within months after the Russians have taken it with supposedly more than 25,000 civilians killed including women and children. Yet, Chernov and his crew would showcase the many atrocities that the Russians committed under the supervision of its president in Vladimir Putin and his propaganda team as they claim that the footage Chernov had released to the public is fake news.

Still, Chernov reveals the emotional and mental toll of the people including the police, firemen, and medical staff who do their best to help and save lives with its police chief doing what he can to help Chernov and his crew while also making a speech about what is happening in Mariupol. Chernov and Maloletka keep things realistic in terms of its visuals as they would also shoot from afar as the most dangerous day in Day 16 where they’re on the 7th floor of one of the remaining hospitals as a Russian tank arrives just close by. There is this sense of danger while there’s another tense moment where a sniper has shot a nurse (who lived) as others are trapped prompting Ukrainian soldiers to try and take out the sniper as one of the lead soldiers is trying to make sure that the civilians are safe.

With the aid editor Michelle Mizner in cultivating many of the footage that wasn’t presented to the news as well as footage from Chernov’s other films as he laments being away from his family who are also Ukrainian though they were able to flee the country. The sound work of Jim Sullivan is superb in capturing not just the many sounds that were recorded but also in the audio of the people who are troubled by what is happening around them. The film’s music by Jordan Dykstra is wonderful for its somber electronic score as it plays into not just the horror but also in the tragedy of war with some of the starkest imagery emerging including a mass grave made for all of those who died including children.

20 Days in Mariupol is a tremendous film from Mstyslav Chernov. It is a documentary film that doesn’t shy away from the atrocities of war as well as capturing the terror that civilians are dealing with as their home is being besieged by a tyrannical forces with false claims of being threatened. It is also a film that showcases what journalists had to do to cover the war as well as showcase the truth no matter how horrifying it is. In the end 20 Days in Mariupol is a sensational film from Mstyslav Chernov.

© thevoid99 2024

Wednesday, March 06, 2024

Medicine for Melancholy

 

Written and directed by Barry Jenkins, Medicine for Melancholy is the story of two people who wake up from a one-night stand as they walk around San Francisco trying to remember what happened the night before. The film is a romantic drama that is told in the span of an entire day as two people try to figure out who they are as well as being one of the many few African-Americans living in San Francisco. Starring Wyatt Cenac and Tracey Heggins. Medicine for Melancholy is a rapturous and compelling film from Barry Jenkins.

The film revolves a day in the life of two people who met at a party and had a one-night stand as they would spend the entire day walking around San Francisco where they fall in love but also talk about who they are including being among the few African-Americans living in a city that is largely white. It is a film that explores these two people who met at this party as they don’t know each other until circumstances occur where they meet again as they would spend the rest of the day together to see the city riding on bicycles as well as talk about all sorts of things with race being a big issue. Barry Jenkins’ screenplay is largely straightforward in its narrative as it doesn’t have much of a plot yet it does play into these two people in Micah (Wyatt Cenac) and Joanne (Tracey Heggins) as they deal with the aftermath of this one-night stand and how to spend the rest of the day as they get to know each other. At the same time, they deal with being black in a city that is predominantly white where people from poor areas are being pushed out in favor of the upper class as Joanne is in a relationship with a white man who is currently out of town.

Jenkins’ direction is mesmerizing for the fact that it is shot on location in San Francisco with a small budget of $11,000 as every scene is shot on location with a film that is shot in desaturated style with little resemblances of color except for one small sequence. Much of Jenkins’ direction is intimate as there are a few wide shots in the film yet Jenkins emphasizes largely on close-ups and medium shots to get a scope of the tiny apartment that Micah lives in as well as the more spacious apartment that Joanne lives in. The direction also play into this sense of the African-American identity where they visit the Museum of the African Diaspora as it’s a place that Joanne never knew about while Micah has a poster on his wall that features a document about the city’s development with the word “lies” covered over it. It plays into Micah’s own issues with a city he has a love-hate relationship for as well as wonder why 7% of its population is filled by black people.

Jenkins also plays into this lack of black identity in San Francisco in a brief scene in which a bunch of white activists talk about gentrification as well as the effect it has on various areas in the city such as Castro Street and East Bay as the latter has people being pushed out for more upper class residents. It is a brief moment that shows it’s not just African-Americans who are affected by gentrification but also the poor as it plays into Micah’s own sense of alienation. Even though he and Joanne would go to a party where it is largely filled with the white indie/hipster crowd, Jenkins reveals that there is still this disparity into the city’s small African-American population as it plays into Micah’s desperation to be with Joanne though she has a different view of the way she sees race but understands Micah’s own problems. Overall, Jenkins crafts an evocative and somber film about two African-Americans who deal with their identity and their surroundings following a one-night stand.

Cinematographer James Laxton does brilliant work with the film’s desaturated cinematography with its emphasis on little colors as well as aim for something gritty to play into this sense of mood and lack of diversity in San Francisco as it would become more desaturated at times as it is a highlight of the film. Editor/sound designer Nat Sanders, along with sound mixer Nikolas Zasimczuk, does amazing work with the editing with its usage of jump-cuts as well as other stylish cuts to play into the drama while his approach to the sound plays on natural locations and how music sounds in a room and such. Music supervisor Greg O’Bryant cultivates an incredible music soundtrack that largely features indie music of that time including lots of unknowns in acts such as Tomlab, Ivana XL, Yesterday’s New Quintet, Total Shutdown, Tandemoro, Gypsophile, the Changes, Au Revoir Simone, White Denim, Canoe, Oh No Oh My, Bloodcat Love, the Octopus Project, the Answering Machine, and Casiotone for the Painfully Alone with the Donkeys plus more well-known music from Igor Romanov and Tom Waits.

The film’s ensemble cast largely consists of real people and non-actors as the main highlight of the film are its two leads in Wyatt Cenac and Tracey Heggins in phenomenal performances in their respective roles as Micah and Joanne. Cenac’s performance is the more outgoing as someone who has a chip on his shoulder when it comes to racial identity as well as being someone who feels alienated by his surroundings. Heggins’ performance is more reserved as someone who doesn’t see race yet begins to realize the lack of African-Americans in San Francisco yet tries to find a more hopeful outlook on things. Cenac and Heggins together are a joy to watch in seeing these two people who had only met the night before at a party as they deal with their one-night stand as well as being among the few blacks in a city that is predominately white.

Medicine for Melancholy is a sensational film from Barry Jenkins that features great leading performances from Wyatt Cenac and Tracey Heggins. Along with its commentary on racial identity, the film’s offbeat yet entrancing visuals, and a killer music soundtrack. It is a film that explores two people who meet in the aftermath of a one-night stand as they deal with who they are in a world where there are part of a small minority as they cope with their identities and views of the world. In the end, Medicine for Melancholy is a phenomenal film from Barry Jenkins.

Barry Jenkins Films: Moonlight (2016 film) - If Beale Street Could Talk - (The Underground Railroad (2021 Limited TV Series) – (Mufasa: The Lion King)

© thevoid99 2024

Thursday, February 29, 2024

Films That I Saw: February 2024

 

Winter is coming to an end as my most-hated season is to arrive in Spring as I usually don’t look forward to it as I’m kind of sad winter is ending. Yet, this winter wasn’t that great as I largely stayed home for much of that time and didn’t go to the movie theaters because I’ve been sick with various cold and flu-like illness though it hasn’t been COVID. Still, it could be worse as there’s been a lot of shit happening with the recent death of Alexei Navalny as he had been an opposition leader in Russia as there is definitely some foul play into his death. It is among the many things happening around the world as even things in the U.S. are just as crazy given that it’s an election year with news coverage going into a bunch of bullshit including a bunch of ugly-ass golden sneakers that I wouldn’t pay a penny for because it looks cheap.
In the month of February 2024, I saw a total of 26 films in 16 first-timers and 10 re-watches with 4 of those first-timers being film directed/co-directed by women as part of the 52 Films by Women pledge. A solid months all things considered as well as being ill right now. The highlight of the month is my Blind Spot pick in Splendor in the Grass. Here are the top 10 first-timers for February 2024:

1. Killers of the Flower Moon
2. The Holdovers
3. The Barber of Little Rock
4. Sandra
5. Past Lives
6. Whiplash
7. The Innocent
8. Nai Nai & Wai Po
9. Knight of Fortune
10. Next Goal Wins
Monthly Mini-Reviews/What Else I’m Watching

The Barber of Little Rock



Of the nominees for Best Documentary Short film, this is the film that should win as it isn’t just this engaging story of a man making a difference for his community. It is all about a community trying to have the power to run their own businesses in a city like Little Rock. Directed by John Hoffman and Christine Turner, the film focuses on Arlo Washington as a man who runs a barber shop with a barbershop college and a bank. A bank that helps African-American families get loans as well as whatever they need as it does show a massive economic racial divide in the city. There’s also some white people who live near the poverty line as they go to Washington for help as it shows a disparity in which 30,000 people in Little Rock could barely get by while there’s 8,000 people who live in middle/upper-class areas that could get anything. It’s a film that should be seen as well as show the power of what a man could do as a way to make a difference.

Whiplash



The short film that would later become the feature film that served as a breakthrough for Damien Chazelle is something fans of Chazelle should watch. Notably as both the film and short star J.K. Simmons in the role of Terence Fletcher as it remains this chilling performance that is really a sampler of what he would do in the feature version. In the role of the new student is Johnny Simmons as he manages to be incredible as a young student that is being pushed to the edge as it is just a great short film.

My Mistress
This Australian film that I saw on TUBI late one night starring Emmanuelle Beart as a mysterious woman who secretly works as a dominatrix is a fascinating if flawed film. It revolves around this young teenager who is dealing with tragedy who meets this older woman played by Beart as she helps home cope with his loss. The film does suffer from some underdeveloped characters in both Beart’s ex-husband and the young man’s mother but it is Beart and Harrison Gilbertson that make the film worth a watch.

Self
This six-minute short film as part of Pixar’s Sparkshorts program by Searit Kahsay Huluf is this inventive film that mixes stop-motion animation with 3D computer-based animation as it’s about a wooden doll who enters a new world as she tries to fit in to this 3D world. It is truly an incredible short film as it showcases the journey of this doll and what she needs to do really stand out in a new world.

Nai Nai & Wai Po
Another nominee in Best Documentary Short that I saw on Disney+ by Sean Wang as it’s about his grandmothers who both live with each other as they do whatever they can to keep going. It is a fun short that showcases these two old ladies who are both near the end of their lives yet they do whatever they can to fulfill themselves while also farting a lot. It is a short that is also touching and full of joy as my mother also enjoyed this short as it is fun to watch.

The ABCs of Book Banning
Of the five nominees for Best Documentary Short, this one is the weakest for the fact that it’s a documentary that could’ve been a feature-length documentary. It revolves around the banning of books in the state of Florida as it is largely told through the perspective of children who question about the books that are being banned. Even as they’re put into 3 categories of Restricted, Challenging, and Banned as many of the books that are put into these categories are either books about African-Americans or people in the LGBTQ community. It is proof of how much of a shithole Florida is.

Made in Milan



This documentary short by Martin Scorsese on Giorgio Armani is a great short that fans of Scorsese should see despite the fact that video quality isn’t that great. Still, it showcases into why Armani is revered as it shows a man who goes to great lengths to make clothes and fashion mean something. Even as he does what he can to innovate while also talking about the city of Milan and what it means for him as well as acknowledging his roots as he wasn’t born rich yet it drove him to succeed. Shot by the late, great Nestor Almendros and edited by longtime Scorsese collaborator Thelma Schoonmaker, it is a short that is full of wonder as it shows two masters working together for this little short.

Hideous
A short I watched on MUBI (that will be unavailable next month) is a collaboration between Yann Gonzalez and Oliver Sim of the xx as the former films the latter who performs 3 songs from his 2022 album Hideous Bastard. Notably as it is this great mix of horror, black comedy, and fantasy as it is told with such style as it has this air of confession where Sim appears in a talk show and performs while becoming a monster. It is such a film short to watch and anyone who is a fan of the xx should see if they can find it though it will likely come back to MUBI soon.

Knight of Fortune



A nominee for Best Live Action Short film by Lasse Lyskjaer Noer revolves around grief as it plays into this man who is at a morgue to see his late wife’s body where he meets another man who had also lost his wife as they both learn that their wives share the same favorite song. It is a film with a bit of humor but it is also a film that really shows how men cope with grief as it is definitely worth watching.

Top 10 Re-Watches

1. The Handmaiden
2. The Lover
3. Tangled
4. The Band That Wouldn’t Die
5. Believeland
6. Just One of the Guys
7. 22 vs. Earth
8. Wingspan
9. Queen: Days of Our Life
10. Lamp Life
Well, that is all for February 2024. Next month, the big film to see is Dune-Part Two as I have a ticket but I'm not well enough to attend and the assholes at Fandango won't refund my ticket for Saturday. Along with whatever new films coming out as well as some last-minute Oscar-nominated films before the Oscars happen. There will be a bunch of films I have pre-written that I plan to watch including films by Barry Jenkins, Christian Petzold, Sean Baker, and hopefully Justine Triet. As for my Blind Spot next month, I’m not sure at the moment.

Before I leave, we have to take note on those have passed away this month starting with the most recent passing of Richard Lewis and Mike Jones aka Virgil aka Vincent aka Shane aka Soul Train Jones. Also who passed this month include Ole Anderson who was one of the co-founders of the Four Horseman as well as Pamela Salem, John Savident of Coronation Street, Paul D’Amato, musician Bobby Tench, Tony Ganios, writer Dan Wilcox, cinematography Alec Mills, Damo Suzuki of Can, drummer Jimmy Van Eaton, conductor Seiji Ozawa, former Chilean president Sebastian Pinera, filmmaker Robert M. Young, Aston “Family Man” Barrett, Brother Wayne Kramer of the MC5, Don Murray, filmmaker/animator Mark Gustafson, Carl Weathers, William Post who invented the Pop Tart, and the greatest outlaw singer of them all… Mojo Nixon! This is thevoid99 signing off…



© thevoid99 2024

Sunday, February 25, 2024

Next Goal Wins (2023 film)

 

Based on the 2014 documentary film by Mike Brett and Steve Jamison, Next Goal Wins is the real-life story of Dutch-American soccer coach Thomas Rongen who is given an impossible task in turning the America Samoan national team from one of the worst teams in the world to become an elite team in their attempt to qualify for the 2014 FIFA World Cup. Directed by Taika Waititi and screenplay by Waititi and Iain Morris, the film is a dramatic take of this real-life story in which a troubled coach faces the prospect of being fired only to take on this impossible task to coach a team who were notorious for losing a World Cup qualifying game in 2001 to a score of 31-0. Starring Michael Fassbender, Oscar Kightley, Kaimana, David Fane, Rachel House, Beulah Koale, Will Arnett, Kaitlyn Dever, Luke Hemsworth, Rhys Darby, and Elisabeth Moss. Next Goal Wins is a heartfelt and witty film from Taika Waititi.

Set in 2011, the film around the Dutch-American soccer coach Thomas Rongen (Michael Fassbender) who reluctantly takes the job of coaching the worst team in the world in America Samoa for an upcoming qualifying match for the 2014 FIFA World Cup. It is a film with a simple premise yet it is told in an offbeat fashion as it plays into a man at the bottom of his life as he has gained a notorious reputation for his angry outbursts in soccer games as he is forced to take this job or else become unemployed. The film’s screenplay by Taika Waititi and Iain Morris is largely straightforward though it opens with an America-Samoan priest (Taika Waititi) revealing about this story with some additional embellishments and dramatic liberties including a small tale about the infamous 2001 FIFA World Cup qualifying game between America Samoa and Australia in which the former lost to the latter in a score of 31-0.

The screenplay doesn’t just play into Rongen’s struggle to turn this team of misfits into a capable team but also with the America Samoan culture that is quite unique in terms of their devotion to faith as they would stop doing everything during a prayer bell as well as the fact that their upbeat despite the losses they take. Even as he learns that many of the players and staff that work for the national team have multiple jobs and don’t take things too seriously as it is a source of conflict for Rongen who takes the game seriously. Still, Rongen would find ways to connect with the locals in the team’s president Tavita (Michael Kightley) as well as a fa’afafine in Jaiyah Saelua (Kaimana) whom Rongen sees as a natural defender as well as making him/her the team captain. Saelua would also help him recruit players including Nicky Salapu (Uli Latukefu) who was the goalie of that infamous game from 2001. The script also plays into Rongen’s reluctance to open up as he’s been separated from his wife Gail (Elisabeth Moss) who was the person that suggested him for this job as a way to cope with issues he’s been trying to avoid.

Waititi’s direction is largely straightforward in terms of his compositions but also has elements of style in the way he portrays American Samoa as the film is shot largely in Honolulu, Hawaii. There are wide and medium shots in these locations including a mountain where a famous American Samoa site is held as Waititi makes the island a major location yet he keeps much of his film straightforward while also putting a few quirks to give the film a sense of flavor. Especially with its humor as it is offbeat in the way the locals present themselves but it never goes into parody where Waititi also uses video as a tour guide for Rongen to watch as well as why they don’t like Samoa. It’s among these little things that allows Waititi to play into Rongen’s own sense of confusion as he would eventually accept their customs while also having to think outside of the box in order coach them.

Waititi’s direction also has compositions that matches the same imagery from the 2014 documentary film of the same name while infusing it with some humor but also knows when to not put humor into something serious. Even as there’s scenes where Rongen is listening to phone messages from his daughter Nicole (Kaitlyn Dever) as a way to deal with his own emotions. The film’s climax is this qualifying game against Tonga as Waititi puts a lot into the game but also this element of drama as it relates to the many issues that Rongen has. Even as he still has this confusion about the America Samoan’s views on life and the world as well as how they play soccer even though there’s a lot riding against them. Yet, Waititi finds a way to showcase this idea of the good and the bad as well as how someone should take it no matter how hard life is. Overall, Waititi crafts a touching yet funny film about a troubled soccer coach going to American Samoa to turn their national team from the worst to a team of winners through just one goal.

Cinematographer Lachlan Milne does brilliant work with the film’s cinematography with its emphasis on natural lighting but also on low-key lighting to not give the film this vibrant look but rather something a little realistic but also colorful. Editors Tom Eagles, Yana Gorskaya, Nicholas Monsour, and Nat Sanders do excellent work with the editing in creating some stylish montages as well as a scene late in the film with its usage of jump-cuts to play into something that is dramatic but also funny. Production designer Ra Vincent, along with supervising art director Peter Borck plus set decorators Katrin Chong and Taylor Jean, does amazing work with the look of the house that Rongen stays in during his tenure as well as the convenience store as well as the local restaurant that is run by Tavita with many of the players working there. Costume designer Miyako Bellizzi does fantastic work with the costumes as it is largely casual with some island-inspired shirts and such that play into the island flavor of the film.

Visual effects supervisor Jason Chen does nice work with the visual effects as it is largely set-dressing for some of the locations as well as in some of the video footage as it relates to footage of the past. Sound editors Phil Barrie and Ai-Ling Lee do terrific work with the sound work in the way a bell sounds from afar or up close that gets all of the natives to kneel and pray along with other natural sound effects as it adds to the atmosphere of the film. The film’s music by Michael Giacchino is wonderful for its mixture of electronic and orchestral flourishes with island-folk based music that plays into the humor and drama with a soundtrack that features some American Samoa-based folk music as well as music from Dolly Parton, Tears for Fears, and Sia.

The casting by Katie Doyle, Mary Vernieu, and Michelle Wade Byrd is incredible as it feature some notable small roles from Taika Waititi as the American-Samoan priest who is sort of the film’s narrator in the film’s opening scene, Kaitlyn Dever in a largely-voice role as Rongen’s daughter Nicole, Angus Sampson and Luke Hemsworth as a couple of Australian players/FIFA officials who are old friends of Rongen with the latter having played in that infamous qualifying game, Chris Alosio as a kid named Jonah who would be Rongen’s assistant during practices, Loretta Ables Sayre as Rambo’s mother who is also a local cop, Rhys Darby as a FIFA official who does some funny presentations for Rongen over his status, and Uli Latukefu as the goalie who played at the infamous 2001 qualifying game whom Rongen tries to convince to return as he’s still fit and able to play. Other notable roles in the film as players for the team include David Tu’itupou as a player known as Tall David, Hio Pelesasa as Samson, Semu Filipo as a local cop named Rambo with a fierce kick, Ioane Goodhue as Smiley, and Lehi Makisi Falepapalangi as Pisa.

Elisabeth Moss is fantastic as Rongen’s estranged wife Gail who also works for FIFA as she is the one to suggest to Rongen to go to American Samoa in the hope he can sort out his own issues as well as find a way to reconnect with him. Will Arnett is excellent as Alex Magnussen as a FIFA official and Gail’s current boyfriend who often spouts these hilarious metaphoric stories as he tries to help Rongen with his issues while also being a bit of a dick but in a fun way as Arnett proves to be the right choice as his role was meant for Armie Hammer until scandal broke out and the film and Arnett came in for re-shoots. David Fane is brilliant as Ace as a mild-mannered coach who doesn’t do confrontations as he proves to be a funny assistant coach for Rongen. Rachel House is amazing as Tavita’s wife Ruth who is often the voice of reason for Tavita while also doing a funny bit to get into Rongen’s head. Beulah Koale is awesome as Daru Taumua as Tavita and Ruth’s son who plays for the team but is skeptical about Rongen until he finds his worth for the team as he gets inspired by Rongen’s teachings.

Kaimana is incredible as Jaiyah Saelua as a fa’afafine player who doesn’t take him/herself seriously yet does find a way to connect with Rongen as well as become the team’s captain where he/she is revealed to be a great defensive player as well as someone not to mess with. Oscar Kightley is great as Tavita as the federation president for the national team as he is someone that constantly gets humiliated but also knows not to have high expectations as his humor is low-key yet effective while also displaying a view on life that is fascinating no matter how bad things can get. Finally, there’s Michael Fassbender in a phenomenal performance as Thomas Rongen as this once-revered soccer player/coach who has serious anger issues as he reluctantly takes this job to coach the worst team in the world where Fassbender showcases some humor as well as bring a lot of emotional weight to a man at the bottom of his life where it is one of Fassbender’s finest performances.

Next Goal Wins is a marvelous film from Taika Waititi that features a great leading performance from Michael Fassbender as well as tremendous supporting performances from Oscar Kightley and Kaimana. Along with its ensemble cast, colorful visuals, a fun music soundtrack, and a compelling real-life story of adversity and finding balance in both the good and bad of life. It is a film that isn’t just a fun sports movie but also a story of a man trying to turn the worst team in the world into a team of winners but also find himself in learning to take the good with the bad. In the end, Next Goal Wins is a remarkable film from Taika Waititi.

Related (Next Goal Wins (2014 film)) – The Auteurs #64: Taika Waititi

Taika Waititi Films: Two Cars, One Night - Eagle vs. Shark - Boy (2010 film) - What We Do in the Shadows - Hunt for the Wilderpeople - Thor: Ragnarok - Jojo Rabbit - Thor: Love & Thunder - (Klara and the Sun)

© thevoid99 2024

Friday, February 23, 2024

2024 Blind Spot Series: Splendor in the Grass

 

Directed by Elia Kazan and written by William Inge, Splendor in the Grass is the story of a young woman’s love for a young man from a rich family in Kansas has them wanting to take a big step as they deal with a lot of things in its aftermath. The film is a coming-of-age romantic film that explores two high school sweethearts who fall in love and embark on new places into their relationship as it would delve into chaos and heartbreak. Starring Natalie Wood, Pat Hingle, Audrey Christie, Barbara Loden, Zohra Lampert, Joanna Roos, and introducing Warren Beatty. Splendor in the Grass is a rich and ravishing film from Elia Kazan.

Set in 1928 Kansas, the film revolves around a relationship between a working class girl and a young rich boy who fall in love and want to take the next step into their relationship yet expectations and pressures from their parents about their individual futures and such would drive the couple apart and into chaos. It is a film that explores young love between two high school kids who are devoted to each other yet both of them are from different social statuses despite attending the same high school as well as their parents wanting to do something for their futures as well as wanting to keep them together. William Inge’s screenplay is largely straightforward as it opens with Wilma Dean “Deanie” Loomis (Natalie Wood) and Bud Stamper (Warren Beatty) making out in his car as the latter wants to go forward but the former is reluctant for the relationship to be sexual. Still, the two want to maintain a relationship with Stamper wanting to marry Deanie in the future yet his father Ace Stamper (Pat Hingle) has plans for him to take over the family business even though Bud knows he doesn’t have the grades to go to Yale.

While Deanie lives comfortably despite her being over-protected by her mother (Audrey Christie), she is eager to become Stamper’s wife though is still reluctant to lose her virginity while also having to watch the dysfunctional world that is Stamper’s family. Notably as his older sister Ginny (Barbara Loden) has returned home from Chicago from an annulled marriage as well as a getting an abortion done, which was illegal at the time, where she becomes a source of discord for the family. Even as her behavior would create gossip with Ace wanting to focus more on Bud’s future where he convinces Bud to break up Deanie temporarily as the result would be chaotic with Deanie becoming erratic over its break-up. The two would endure their own separate journeys where Stamper deals with the futility of expectations while Deanie goes on her own journey to discover herself.

Elia Kazan’s direction is evocative in not just the richness of its compositions but also in its overall presentation as it plays into a world where parents are expecting this great future emerging just a year before the Crash of 1929 that lead to the Great Depression. Shot largely at the Filmways Studios in New York City with exterior locations shot on Staten Island and High Falls, New York, Kazan creates a film that plays into a period in time where Prohibition was still happening though the rich were able to get alcohol through some illegal means and get away with it. Even as Kazan shows how Ace Stamper is able to get alcohol in those times as he is a rich man with oil wells and cattle ranches where he wants Bud to run these things in the future though Bud is more interested in just wanting to run a ranch. Kazan plays into this sense of generational gap involving Deanie and Bud against the expectations of their parents as Kazan’s unique compositions in his close-ups and medium shots play into the melodrama and dramatic suspense.

There are some wide shots in Kazan’s direction in the way he films scenes in Kansas including this waterfall area for the film’s first scene as well as a couple of key moments that would play into the Deanie and Bud’s dissolution. Kazan also maintains this air of sexual innuendo in the way Ginny presents herself as well as a scene of Deanie in a bathtub as she is talking to her mother as she would act erratically over what happened with Bud. It would play into this third act of Bud and Deanie living separate lives but also confront their own issues with themselves but also gain an understanding of what their parents want. Notably as Bud’s time in Yale produces poor results in a scene with him, his father, and Yale’s dean (Kermit Murdock) where Kazan definitely shows who is running the conversation as that person is starting to unravel with Bud caught in the middle. Its ending refers to a poem by William Wordsmith that Deanie struggled to read and comprehend in its second act as it would return as a way to express what she and Bud had endured but also the choices they would make as adults. Overall, Kazan crafts an intoxicating and exhilarating film about high school sweethearts whose love life is disrupted by the demands of adulthood and the expectations of their families.

Cinematographer Boris Kaufman does amazing work with the film’s cinematography in the richness of the daytime exterior locations as well as the usage of lights for some of the interior scenes at night along with an emphasis on low-key lighting for the exterior scenes at night. Editor Gene Milford does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into the melodrama as well as some lighthearted moments in the film. Production designer Richard Sylbert and set decorator Gene Callahan do brilliant work with the interiors of the Loomis family home in its simple yet classy style that is a sharp contrast to the way more refined world of the Stamper family estate with all of its bigger rooms and such. Costume designer Anna Hill Johnstone does fantastic work with the costumes with the dresses that the women wear being a highlight including some of the clothes that Deanie would wear later in her life as well as the raunchy clothes that Ginny wears.

Hairdresser Willis Hanchett and makeup artist Robert Jiras do terrific work with the hairstyles that the women wear at the time including Deanie’s hairstyle in the film’s first and second act as well as a more refined look in the third act. Sound editor Frank Lewin does superb work with the sound in the way waterfall sounds from its location up-close and from afar as well as the way a room is presented in its location. The film’s music by David Amram is incredible for its jazz-like score that features some saxophone and piano to play into the melodrama and romance that includes some orchestral flourishes with a soundtrack filled with the music of the times.

The film’s marvelous ensemble cast feature some notable small roles and appearances from Ivor Francis as Deanie’s psychiatrist Dr. Judd, screenwriter William Inge as the local pastor Reverend Whitman, Kermit Murdock as the dean of Yale in Dean Pollard, Phyllis Diller in her film debut as the famed performer Texas Guinan, Martine Bartlett as the school literature teacher Miss Metcalf, the duo of Sandy Dennis and Crystal Field as two of Deanie’s friends in Kay and Hazel, Charles Robinson in an un-credited performance as a young man that Deanie meets in a hospital in John, Gary Lockwood as a friend/teammate of Bud in Toots, Jan Norris as a slutty classmate of Deanie in Juanita Howard, and John McGovern as Doc Smiley who becomes concerned for Bud’s health following a collapse at a basketball game while also believing that Bud is being put into a lot of pressure from his father. Joanna Roos is wonderful as Bud and Ginny’s mother who is supportive of Bud’s relationship with Deanie though she has great concerns over her husband’s ambitions and the pressure he put on their son. Fred Stewart is superb as Deanie’s father Del Loomis as a man who runs a small shop next to the house as he is this low-key person that doesn’t try to cause trouble while is also doing what he can to make Deanie feel happy as he would also feel that his wife is smothering her.

Zohra Lampert is fantastic as Angelina as this young Italian immigrant that Bud meets in Yale as she would help him see things differently as well as be an important person to him later in his life. Audrey Christie is excellent as Deanie’s mother who is protective of Deanie as she also sees her as a young girl as she unknowingly would smother her as it would add to Deanie’s emotional and mental troubles. Barbara Loden is brilliant as Bud’s older sister Ginny as this young woman who likes to push her father’s buttons as well as be this ultimate rebel though it would also put her in danger including an attempted rape on her as she’s also gained notoriety for all of the wrong reasons. Pat Hingle is amazing as Bud’s father Ace Stamper as this rich oilman who expects so much from Bud to succeed him as he talks a lot while also making some bad suggestions as he would help play a role in Bud and Deanie’s break-up as he is really a complex man that is severely flawed and tries to control so many things in his life.

Finally, there’s the duo of Warren Beatty and Natalie Wood in tremendous performances in their respective roles as Bud Stamper and Deanie Loomis. Beatty in his debut performance has all of the attributes of a high school sports star in terms of its physiques and looks yet it is Beatty’s vulnerability that makes Bud compelling to watch as someone who is aware of his flaws and shortcomings as well as the fact that he doesn’t have his father’s ambitions. Wood exudes a radiance in her performance as a young woman that has an air of innocence but is also someone who had been too sheltered leading to an emotional breakdown and issues that would allow her to act out where Wood brings in that intensity to a young woman that is unraveling. Beatty and Wood together have this amazing chemistry as a young couple in love but one of them wants to get more physical but other isn’t willing as it causes problems with Ace getting involved as it adds to the drama as the two are a major highlight to watch.

Splendor in the Grass is an outstanding film from Elia Kazan that features great leading performances from Natalie Wood and Warren Beatty. Along with its supporting ensemble cast, wondrous visuals, a fiery music score, and a story of young love and the expectations of adulthood. It is a film that explores two young people wanting to devote their love for one another only to cope with life changes and the move into adulthood as well as the demanding hopes of their parents. In the end, Splendor in the Grass is magnificent film from Elia Kazan.

Elia Kazan Films: (A Tree Grows in Brooklyn) – (The Sea of Grass) – (Boomerang!) – (Gentleman’s Agreement) – (Pinky) – (Panic in the Streets) – A Streetcar Named Desire - (Viva Zapata!) – (Man on a Tightrope) – On the Waterfront - (East of Eden) – (Baby Doll) – (A Face in the Crowd) – (Wild River) – (America America) – (The Arrangement) – (The Visitors (1972 film)) – (The Last Tycoon)

© thevoid99 2024