The Filmcake

August 16th – August 22nd

Greenberg — While I haven’t even seen Noah Baumbach’s first three films, I have really liked his last three (The Squid and the Whale, Margot at the Wedding, Greenberg). Sure, they are populated with nasty characters. But to me nastiness isn’t the same as unsympathetic. I think we’re all nasty. Maybe we’re nasty in the privacy of our own homes, or amidst failed relationships, but it is a common human trait nevertheless. To see these caustic characters on screen is to remind us of our own short-comings. I’ve heard the complaint about Baumbach films that nobody would want to spend time with Bernard, Margot, or Roger in real life so why would they want to spend time with them at the theater (or at home). I think movies (or all of art, really) are supposed to make us feel, not simply to make us feel good (or happy). Roger Greenberg (Ben Stiller) is a pain in the ass. But his life is kind of heartbreaking. And, because we are given minimal information as to the full extent of his nervous breakdown, we’re unsure of the seriousness of his emotional problems. It certainly makes judgment of Roger more difficult.

And I’ll go ahead and take this opportunity to jump on the Greta Gerwig bandwagon. She is delightful to look at without being movie star gorgeous. And she delivers a strong performance as the assistant to Roger Greenberg’s brother. I look forward to looking at some of those small movies she’s already done and what she’ll do in the future (she’ll be Russell Brand’s love interest in the upcoming Arthur remake).

American Movie — Finally got around to seeing this documentary classic from Chris Smith. The first question I had upon seeing this was to ask whether this was real. For a decent portion of the film, I was convinced that this was a mockumentary. Like with Anvil! The Story of Anvil, the subjects of the documentary don’t simply appear to be idiosyncratic characters so much as seemingly comically-crafted inventions that serve some broader satirical purpose. But alas these are apparently real people (though they still may act to serve a broader satirical purpose). And Smith, the film’s director, does treat them like real people. Sure we see the film’s central character, Mark Borchardt, almost seeming to take advantage of his frail grandfather. But at the same time, we see him in tender moments with him, as when he is helping him to bathe. Taking advantage of people AND having tender moments are what human relationships are all about, right?

The second question I had was to ask myself if I would ever be able to make a movie better than Coven (which could be seen in its entirety as a special feature on the DVD). I’ve seen worse short films than Coven. It’s something that wouldn’t be entirely out of place in the Midnight Shorts section at deadCENTER. And if it were cut down, it actually might be kind of good. It also proves that passion may drive a movie more than money or talent. Unless you’re particularly rich or well-placed, passion seems to be the essential force in actually getting a movie made. All the other stuff falls in place thereafter. Sure, budget and talent may affect quality…but they’re not the necessary component.

Sarah rejoins The Filmcake with a guest post pondering sexism at the multiplex:

Anyone who knows me at all knows that I’m a card-carrying, not-ashamed-to-admit-it Feminist. I also love movies. While I could likely go on for hours about how women are portrayed in film, the relative dearth of female filmmakers, etc., this particular Filmcake takeover is going to focus specifically on the idea of the “date movie.”

A couple of weeks ago, I read this Forbes.com post pointing at a double standard that seems to exist between movies aimed at men and movies aimed at women:

The two big movies opening this weekend are The Expendables (a testosterone laden action flick) and Eat Pray Love (its hormonal opposite). According to a survey of 1200 Fandango ticket buyers, 95% of the people who say they want to see Eat Pray Love are women. Only 5% are men.

But 42% of the people who say they want to see The Expendables are women (58% are men). And therein lies the problem. Women are fine going to see male-oriented movies. Women go to the movies all the time. It’s men who are the problem because they refuse to go see chick flicks.

Ignoring for a moment the actual quality of both of the above-referenced movies (I’m pretty sure neither are likely to be on anyone’s end-of-year Top 10 lists), this captures a sentiment I’ve heard countless times. Assuming that many of the people going to see one of these films are going with a date or significant other, it seems to be much more acceptable for a woman to go to a “dude movie” than it is for a man to go to a “chick flick.” For example, one of the biggest problems I have with my otherwise beloved Filmspotting hosts Adam and Matty is that in the few times they even acknowledge that women watch movies, it’s usually in the context of poor, single Matty being dragged to some dreadful romcom on a first date. In fact, “date movie” really almost becomes synonymous with “chick flick.”

The implication is that the man has to begrudgingly put aside his masculinity and suffer through a (probably legitimately bad) romcom in the hopes of maybe getting a little ass later. However, consider the reverse: a woman goes to the latest guns-and-explosions extravaganza, and is in all likelihood, going to be considered a “cool chick.” If she genuinely likes traditionally male genres (war movies, Westerns, comic book movies, etc.) she’s probably going to be someone’s Ultimate Dream Woman. Whereas, if a man sincerely loves romantic comedies, I’d be willing to wager that his sexual orientation is probably going to be called into question sooner or later. Sad, but true.

My first thought about all this is that, well, “women’s movies” generally suck. While it’s true that yes, most certainly do – so do most “men’s movies.” Both types are pretty dependent on familiar tropes and formulas, and don’t always boast the best writing, editing, acting, cinematography, etc. That’s not to say that there aren’t some wonderful romantic comedies and really great action flicks, because there absolutely are, but face it – most tend to be crap that plays to the lowest common denominator.

I think the real problem is that, blind to the actual quality of the movie in question, one genre seems to be considered  automatically better than the other. Once again, the implication is the “masculine” is acceptable, whereas the “feminine” is inferior, and something to be avoided. It’s okay, even desirable, for the woman to embrace the masculine, but that doesn’t always extend in the other direction. Or, as Molly Haskell puts it in the introduction to Holding My Own in No Man’s Land, perhaps “the fact is, we are all, in some measure, more comfortable with maleness than with femaleness.”

August 9th – August 15th

The Wire (Season 2) — I love this show. After following the Barksdale crew, the Baltimore detail moves on to the docks. Such a wonderfully written show with fabulous characters. My favorite character this season would have to be Ziggy. I could never quite figure him out. He made me angry, he made me laugh, he made me sad. Also, I now know what a stevedore is.

Romance — Another one from Catherine Breillat. While she makes great films, I’m getting a little tired of the formula. Still, this one is shocking not only for its explicit and unsimulated sex (featuring porn star Rocco Siffredi), but for the fact that the film concerns itself with the sexual life of a woman. If these Breillat films have taught me anything, it’s how one-sided film and social norms (and pop culture) are in their portrayal of the sexual life. The bias assumes an active role for the male and a passive one for the female, even if only implicitly. Breillat seems to turn that idea on its head.

Jackie Brown — My least favorite Tarantino film. It’s a solid film, no doubt. Pam Grier and Robert Forster really anchor the film, in that career resurrection Tarantino way. Whereas I think I can say I love Tarantino’s other movies, I can only say that I quite like this one.

The White Ribbon — Michael Haneke’s beautifully photographed take on what went wrong in pre-war Germany. One could say the movie is simply about how Nazis became Nazis. But it is more than that for sure. Simply its about the dangers of authoritarianism of any sort, political, religious, or familial. The film shows how authoritarianism destroys people, how it reproduces itself, and how it manages to survive. In this movie, the perpetrators of evil are never clearly identified. And the one person who has the gall to investigate and make an identification (the teacher, possibly Jewish) is essentially forced out of the village. Better to keep quiet–and let the authoritarian power structures roll over you–than to stand up and fight against it. Same as it ever was.

The Big Lebowski — The Dude. Because after watching Haneke’s film, one must go for lighter fare or else risk falling into a dark depression. And for some reason, this movie was much more hilarious that I had remembered.

August 2nd – August 8th

reasons to be pretty (stage play as produced by Ghostlight Theatre Club) – Neil LaBute’s Beauty Trilogy comes to an end with this play following up on The Shape of Things and Fat Pig (presented in Ghostlight’s previous two seasons). I didn’t get to catch The Shape of Things at Ghostlight, but I did see the film version. I did, however, catch the excellent Fat Pig there last season. Out of the three, I think reasons to be pretty is my favorite. It’s the most subtle of the three. And compared to some of LaBute’s early films–In The Company of Men and Your Friends and Neighbors–it is a much gentler examination of the human condition.

Some of LaBute’s stuff plays like a horror film, populated with monsters (in most cases, men). Think Aaron Eckhart’s Chad or Jason Patric’s Cary. In this one, the most monsterish character is Kent (Jeff Burleson, just as excellent here as he was in Fat Pig). And Kent isn’t so much a monster as he is just kind of a dick. And, yes, I think there is a difference. But the rest of the characters play like complicated human beings who have moments of cruelty which are altogether human and familiar.

This play, perhaps more so than the other two, is less about beauty and more about relationships. It’s about growing up and learning to love yourself as well as how to make yourself happy (without destroying everything in your wake).

I applaud Ghostlight for putting on another wonderful performance. The musical interludes, while sometimes on the nose, were excellent choices. The minimal stage setting was effective once again. And the acting was superb. It was nice to see Burleson, who had a co-starring role in Fat Pig, shine in a more supporting role this time (just as it was nice to see him eventually get his come-uppance at the ballfield). Scott Hynes was wonderful as Greg. And after the first scene, which seemed perhaps a bit too much like acting, Victoria Stahl cruised along quite comfortably in the role of Steph. But, Rachel Bouton impressed me the most in the smaller role of Carly. All around wonderful casting.

I absolutely love the Ghostlight. I can’t wait to see more stuff there. I can’t wait to see these actors again. My knowledge of stage plays, and the craft therein is sadly lacking. Ghostlight, and other local theatres/companies, should aide in rectifying that deficiency.

July 25th – August 1st

The Runaways – I like Kristen Stewart. She seems to be improving. And if that brooding, biting her lip thing is the only thing she can do, then I truly like that thing she does. And whereas Dakota Fanning has been wonderful since she started this whole acting thing (at age 7 with 2001′s I Am Sam), it has taken me a while to come around to seeing her as a genuine actor rather than some precocious brat. And, of course, Michael Shannon impresses as always. But performances aside, the movie was just too musical biopic meets after-school special cliche. Even with some tame drug use and too obvious bisexual curiosity, the story seemed sanitized. I wanted gritty. I wanted something crafted with handmade stencils, black spray paint, ripped t-shirts, and safety pins (or a chainsaw, at the very least). This movie is too pretty and neat. It was like some faux-vintage The Runaways t-shirt for sale at Hot Topic passed off for authentic. Getting at the right idea while kind of completely missing the point.

The Wire (Season 1) — Oh. My. God. This show is wonderful. I gave up on it too soon when it first aired. It just wasn’t doing it for me. But all the critical praise and love for it made me reconsider it. And boy am I impressed. I can bet that I dismissed it too early the first time through for being another police procedural. Whereas I was into the character drama of something like Six Feet Under, this didn’t do it for me. But now…after making it thru the first season…I am in love. It’s so beautifully dense and feels terribly authentic. And the performances–from the leads to the street soldiers–are amazing. I can’t wait to start up on season 2.