Movies Are My Wife

Married to the Movies — Mdino's Blog

STRAW DOGS (2011)

With his production of STRAW DOGS (2011) director and writer Rod Lurie takes the Sam Peckinpah original out of its English setting and drops it into the middle of the Mississippi marsh lands. The message of the Peckinpah version was that violence exists everywhere, even in the most bucolic settings, while Lurie seems at times to be saying nothing more than the old stereotypical canard “rednecks are crazy.” The isolated Cornish village that was supposed to be mathematician David Sumner’s refuge from the violence of America, becomes “Blackwater Mississippi”, a rural Southern town where Hollywood writer David Sumner (James Marsden) can get away to work on his new screenplay. The opportunity arises for Sumner and his actress wife Amy (Kate Bosworth) when she inherits her recently deceased Father’s run down farm-house. The fact that he is writing about the Battle of Stalingrad, one of the most violent confrontations of World War II, proves portentous in the extreme, as you will soon discover… Upon returning to the town she dismisses as “Backwater”, Amy is interrupted by old boyfriend Charlie (A very sinister Alexander Skarsgard) as she and David have lunch at “Blacky’s” diner. He runs a construction company facilitating David’s decision to hire him and his crew to renovate the home. If not for mistakes like this, we would be without many of the classic dramas and thrillers we have been so fond of over the years. Not that this new version is a classic by any means, but its scenes of animal killing, rape and an especially graphic climactic blood-letting have the power necessary to keep audiences interested and, dare I say, delighted. Also fascinating is the development of several themes which take the heat off of our Southern brethren, whose culture comes in for an otherwise furious shellacking by Lurie. One of these themes is the animalistic nature of all mankind, the ultimate proof of which is found in the fact that audiences enjoy violence such as the above. Of course, most of these themes were developed in the first film, and Lurie, at best, can be credited with adding a few different twists.

One of the first images of the film is of Charlie and his crew/hunting party reflected in the dying eye of a deer as the kill shot is administered. later, when Charlie is reflected in David’s sunglasses, we realize the timid screenwriter will eventually be the hunted – and the hunter – like the animal in all of us. Both men proudly display their trophies. A shot of the aforementioned deer’s antlers decorating the front of Charlie’s truck is followed by a close-up of a jaguar hood ornament on David’s fancy sports car. The arrogance of the two men will lead to a head on collision…Soon there are shots from Amy’s point of view of a church as the car speeds along, followed by shots of high school football players marching along the side of the road. Hunting, football and religion are seen as the pillars of southern American life and they are the motivation behind much of what follows in STRAW DOGS.

The people of Blackwater clearly resent the pampered Hollywood hot-shot. When David attempts to pay a waitress with a credit card she balks, explaining, “We only take cash. You know, stuff poor people use for money.” It is at this same bar and grill that the couple first encounter “Coach” Tom Heddon (James Woods), a drunken mess of a man and the ex coach of the local high school football team. He is insanely possessive of his teen-aged daughter Janice (Willa Holland). Above all, he is filled with blind hatred – especially for Jeremy Niles (Dominic Purcell) – a mentally challenged man he obsessively believes to be a threat to Janice. In a fight with the bartender “Coach” shatters a glass of beer – cutting himself. He literally has blood on his hands, a hint of what is to come. Also a foreshadowing are the guns, animal trophies and bear traps that decorate Amy’s childhood home – the home she now shares with her husband. David is truly the odd man out, even listening to classical music while everyone else is obsessed with southern blues and country songs. One of Charlie’s crew is even heard asking another worker “Who would you rather have sex with, Hank Williams or Johnny Cash?” While working on the house, Charlie cranks up the country songs to drown out the sound of David’s classical record. Charlie is dominant. He will take David’s woman. And David, who is teaching Amy the fundamentals of chess, attempts to seduce her by rubbing chess pieces over her body. He is no match for the alpha animal Charlie – not yet. The crew of “rednecks” go hunting every chance they get – and David? He prefers a more genteel pursuit: He skips rope. All the men wear hunting boots except David who sports effeminate brown and white saddle shoes. Perhaps most damning of all is David’s disdain for organized religion. Invited to a “preach and play” – a church service before the big game – David grows disgusted with the fire and brimstone theology of the Pastor (Richard Folmer). He walks out in the middle of the sermon angering Charlie. Did it get him angry enough to kill Amy’s cat? Perhaps in an effort to find out, David accompanies Charlie and his crew on a hunting trip. Soon Charlie and the others lose David in the woods, with Amy’s ex making his way back to the Sumner home. It is here that Charlie rapes Amy. There is much cross cutting between David killing a deer (the motivation for this sudden shift in the mild-mannered writer’s temperament is not adequately explained) and the rape of his wife. Soon Norman (Rhys Coiro), one of Charlie’s beastly crewman, enters and has his turn with Amy. Extreme close-ups of David’s hands as they caress the deer carcass, are intercut with Norman’s hands groping his traumatized victim. During this rape, a bluesy version of “Release Me” is heard on the record player. (Notice it is not a CD player – this is the “backward” south, after all.) The beast has indeed been released. As the men leave, Norman’s gun passes in the foreground of the shot. The men have been hunting a human, in the stalking and raping of Amy, who strangely, never informs David of her ordeal. Bt this is just the most ferocious attack in the film up to this point. The consummate orgy of brutality is still to come.

When Janice goes missing, “Coach”, Charlie and the crew set out to essentially lynch Jeremy, who has taken refuge with the Sumners, setting the stage for the final flood of crimson. This gang, the most repulsive southern villains since DELIVERANCE (and I must also give a nod to that most disgusting of stereotypical icons, Leatherface), besiege the Sumner home to satiate their blood lust. But the beast has also been released in David. As the siege begins, he plays the recording of “Release Me” that was used by Norman and Charlie to add ambience to their horrific rape of Amy. David will now do any act of violence to protect his homestead – much to the displeasure of Amy who begs her husband to turn Jeremy over to the mob. This is a most pronounced irony, of course, because earlier she castigated David for not stepping in to defend Jeremy as he was assaulted by a drunken and delusional “Coach” at a barbecue. He is finally the man you always wanted Amy – savor it. One by one, David dispatches the invaders in the most unimaginably gruesome ways. “I got’em all”, he proudly declares, as the bodies lay scattered about the house. As in the first film, David’s glasses represent the fragile nature of his persona and also mankind’s tenuous hold on civilization. It is after his glasses are shattered that David commits his most violent act. The preacher’s apocalyptic sermon has finally been enacted and fulfilled. The first film ends with David taking the character on which Jeremy is based, home to his family. As the remake ends, we are not even sure of what has become of Jeremy, as if he was not that important in what has just happened. The violence, it seems, was just an animalistic explosion.

Though the Sam Peckinpah version is superior, this new incarnation is not without its pleasures – mainly because there is a little bit of blood lust in all of us. There is a certain kick – a charge we get – from unrelieved mayhem. It is the nature of the beast.

CREDITS: Produced by Marc Frydman. Written and Directed by Rod Lurie. Based on the novel “The Siege of Trencher’s Farm” by Gordon Williams. Photographed by Alik Sakharov. Production Design by Tony Fanning. Edited by Sarah Boyd. Music by Larry Groupe. WITH: James Marsden, Kate Bosworth, Alexander Skarsgard, James Woods, Dominic Purcell, Rhys Coiro, Billy Lush, Laz Alonzo, Willa Holland, Walton Coggins, Drew Powell, Tim Smith and Richard Folmer.

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August 14, 2013 Posted by | 21st century film, film directors, film drama, screenwriters, suspense films, violence themed films | , , , , , , , , , | Leave a comment

FOR YOUR CONSIDERATION (2006)

The Hollywood of FOR YOUR CONSIDERATION (2006) is a place where people are impossibly rude to one another when they are not being phony suck ups, executives make ridiculous “suggestions” that ruin the artistic intent of the filmmakers (however lame), and actors can’t remember the names of people on the crew while other actors become shoe salesmen when washed up.  It is peopled by emotional wrecks like Marilyn Hack (Catherine O’Hara), an aptly named alcoholic in waiting whose life is changed when a rumor is started that she may be nominated for an Oscar.  The film that may finally garner her the respect she has always craved is entitled “Home For Purim”, and it is just bad enough to be an academy award winner.  Set in the deep south during WWII, it concerns a Jewish family (complete with Gomer Pyle accents) perplexed when their daughter returns from war with a lesbian lover.  The rest of the cast and crew of this opus are as big a bunch of losers as Marilyn, with each and every one of them a “hack” in their own right.  Her co-star is Victor Allen Miller (Harry Shearer) whose most famous role up till now is as a foot long wiener in a commercial for kosher hot dogs.  The fact that he is also a kosher wiener (as the goofy head of the family) in “Home For Purim” reveals that type casting is alive and well in Hollywood.  The ham fest continues with Brian Chubb (Christopher Moynihan) and Callie Webb (indie film favorite Parker Posey), lovers who portray siblings in “Purim.”  Rachael Harris is the lesbian love interest in the film within a film.  Eugene Levy has a funny turn as Victor’s hopeless agent.  In a sly move, the director of FOR YOUR CONSIDERATION (Christopher Guest) also plays the director of the WWII saga.  He wrote the screenplay with Levy – the real screenplay – not the mess that is the basis for “Home For Purim.”  That one was written by Phillip Koontz (Bob Balaban) and Lane Iverson (Michael McKean), both superb as befuddled authors when the studio head (Ricky Gervais) suggests toning down the “Jewishness” of the film.  This guts the whole premise – so much so – that a new title is in order: “Home For Thanksgiving.” 

FOR YOUR CONSIDERATION is handled with the utmost wit and verve, making it a fine addition to the Guest/Levy comedy collaborations (all of which include many of the same cast members).  The dialogue is svelte and sharp and often lambasts anal retentive Hollywood: “Do you know how tight my aperture is right now?” asks a dismayed Director of Photography.  Publicist Corey Taft (John Michael Higgins) expresses his belief about performers by stating “Inside all actors there’s a tiger, a pig, an ass and a nightingale.  Which one will show up?”  There is still more wisdom, as demonstrated when producer Whitney Taylor Brown (Jennifer Coolidge) is asked by a reporter just exactly what it is a producer does.  Her answer boils down to “Pay for snacks.”  When make-up man Sandy Lane (Ed Begley JR.) refers to the Oscars as “the backbone of the industry”, Victor responds with “an industry known for not having a backbone.”   As a side note, the name “Sandy Lane” is wild in itself, since the character is gay and it could easily be taken as a play on “dirt road.” 

The satire almost always hits its mark.  Fred Willard, sporting an outrageous Mohawk style haircut, is perfect as a seedy “Entertainment Tonight” type reporter.  His abominable cruelty is only a slight exaggeration of heartless show business vultures going back to the “True Hollywood Stories” gossip magazines of the forties.  And he is oh so funny- and not just because of his hair.  In an interview with the cast, the clueless reporter fires off a string of non sequiturs delivered with such youthful verve, it is difficult to believe “Fernwood Tonight” was on the air over thirty years ago. 

The studio overseeing all this nonsense is called “Sunfish Classic”, probably a jab at “Sun Classics Pictures” – a notorious “B” studio of the 1970s. 

Soon the buzz gets around that Victor and Callie are also being considered for Oscar nods, and it is no wonder that everyone wants to be in show business.  Even the local weather girl does her report as a ventriloquist act with a gorilla hand puppet. 

The critics, as well (and perhaps especially) are seen as hopeless bafoons.  An Ebert and Siskel style review show features Don Lake and Michael Hitchcock as critics who constantly disagree to the point of viciousness and when they both like “Home For Thanksgiving” Lake is so overcome a string of spittle drips down his chin. 

But the anxiety of a possible Oscar takes its toll on Marilyn who flips her lid, changing her persona so completely, she is soon dressing and acting like a strung out hooker.  And when it is finally revealed that none of the three receives a nomination, the collective heartbreak is palpable.  The emotion of this scene is impressive, considering the “out there” comedy of the rest of the film.  Especially moving is O’Hara, and when, in the final moments, we find Marilyn working as an acting teacher, it is not surprising to find that she is still miserable, though trying to convince herself otherwise.  With a horrific Norma Desmond grin plastered on her face, she tells her students that she has finally gotten to that special place where she is “comfortable in my own skin.”  With the fade out comes the closing credits, a creepy, ironic recording of “Hooray for Hollywood”, and the realization that for all it’s crazy comedy FOR YOUR CONSIDERATION is one of the darkest films about Hollywood since SUNSET BOULEVARD.

CREDITS: Produced by Karen Murphy.  Directed by Christopher Guest.  Written by Christopher Guest and Eugene Levy.  Cinematography by Roberto Schaefer.  Edited by Robert Leighton.  Music by C.J. Vanston.  With: Catherine O’Hara, Harry Shearer, Christopher Moynihan, Parker Posey, Christopher Guest, Eugene Levy, Bob Balaban, Michael McKean, Ricky Gervaise, John Michael Higgins, Fred Willard, Jennifer Coolidge, Jane Lynch, Ed Begley JR.               

May 7, 2013 Posted by | 21st century film, film comedy, film directors, screenwriters | , , , , , , , , , | Leave a comment