YOU WON'T FORGET IT and SUN ON CARMEL WHITE

FILM AS MORE THAN ENTERTAINMENT

     From the beginning, film has also been about sociology, politics, or explorations of the nuances of the human experience. Many people connect with cinema as the modern novel; entertainment, escape or a medium for drama. Over the years I've explained to friends why a director, writer, cinematographer, actor or perhaps the scope of a project itself will lead me to plunk down the money for a ticket, even if the film is not, in their minds or the minds of many, entertaining or enjoyable. My attraction might be the craft, skill, artistry, approach or even the topic. This, then, is my raison d'être for raving about AUGUST:OSAGE COUNTY.

      At lunch today I was asked if I "enjoyed" the film. I told her enjoy was not the correct word, but I was enthralled and maybe even mesmerized by the extraordinary acting.  If you are a film fan you've no doubt read the stunning reviews this work has gathered. There is little more that I can add, but to say there was not one character in the film who was not brilliantly portrayed by their actor. The characters were indeed dysfunctional, flawed, pained and painful, deep, conflicted and extraordinarily human and real.  They make you laugh and they make you cry and they confound.  

      Meryl Streep's work will blow your mind, even if you've seen her award winning roles and have marveled before, thinking she can't be any better. Yes, she can and this is it.  Julia Roberts, who I've enjoyed as a movie star but never given much credit to as a deep actress changed my mind about all of that. She's got serious chops. Margo Martindale and Chris Cooper are worthy of Oscar nominations, despite not being nominated. Misty Upham is compelling in her small, but essential role. Benedict Cumberbatch, who seems to be everywhere these days, Juliette Lewis, Ewan McGregor and Dermot Mulroney all bring characters to life with brilliance, subtle and otherwise. Sam Shephard in his all too brief role, Abigail Breslin and Julianne Nicholson are haunting in their portrayals.  In the case of Breslin and Nicholson some of the most compelling scenes are fueled by their expressions in poignant moments.

       So, dark, sad, riveting and even laugh out loud hilarious delivered by acting at it's best may not make for "enjoyable" but certainly is memorable and powerful.  

PHOTO PLAY

SUN ON WHITE

    January sun and sky mixed with Carmel white and shadows.

See you down the trail.

STRIKING A BALANCE- THE WEEKENDER

AN ISSUE OF OUR TIME
REEL NOTES-THE FIFTH ESTATE

     In a nutshell the film revolves around a line spoken by Julian Assange "editing reflects bias."

     That is a great premise for a debate and reminds me of  countless conversations by journalists. A variation of the theme is do we reflect the culture, like a mirror, or do we shape it by our very presence? Such philosophic pondering and navel gazing seems hopelessly old century by comparison to director Bill Condon's treatment of the Wiki-leaks story.

      The idea of Wiki-leaks is profound, but its impact on the world is more shattering.  Screenwriter Josh Singer took a book by a former Julian Assange colleague, Daniel Berg and created a rich pastiche of culture, journalism, legal boundaries, personality and a dramatic timeline that centers on Assange and his desire to strip bare all pretense and leave us with a world of transparency.  In his world all organizations loose proprietary control of information and only whistle blowers and leakers are protected.  That's a helluva conversation to have.  But there are intersecting points of view including those of news organizations like the New York Times, Der Spiegel and The Guardian, plus agencies like the State Department with privileged and covert information.  It makes for a compelling film that transcends mere entertainment and approaches an ethics tome or philosophic debate.

       Condon infuses the work with a strong international accent, with a particularly heavy dose of Berlin artistic, avant garde and hacker culture.  Benedict Cumberbatch is brilliant, nuanced, conflicted and spot on as Assange.  Daniel Bruhl is compelling as Daniel Berg who fell in and then out with Assange in his quixotic mission.

      The production style and graphics are as contemporary as your Droid or iPhone.  In a few years they may seem dated, but now they are slick and help move the story.  The opening montage is incredible.  I told a professor friend that he could use that as a history of communication set piece.

       The on screen debate over the release of the Bradley Manning documents is a good microcosm of the larger debate implicit in the film-the philosophic gist of hacking, complete transparency and openness and who gets to set the rules and control the information.

       Cumberbatch, and Condon's direction do a good job of portraying Assange's personal journey of commitment or obsession. Assange says the film is a propaganda attack on Wiki-leaks.  I don't agree.  As major news organizations battle against release of un-redacted cables, Laura Linney, as a State Department official says, "He's bigger than the Times."  And that is the core of the premise.  

        If you care not about the underpinning premise, it's still a fine film, just for the drama and entertainment value.  Condon has directed God's and Monsters, Chicago, Kinsey and Dream Girls.  He is a gifted film maker.  Singer wrote many episodes of West Wing and Law&Order and has talent and experience at making the complex move through good dialogue and strong characters.

        This is one of the most important films I've seen and is sure to add to what is a needed and clarifying debate.  

AND THIS TOO IS POWERFUL

THE WEEKENDER VIDEO

      See you down the trail.

CREATIVITY, WINNING & SHAKING IT OFF

HOW WE AMUSE OUR SELF

Like millions, I pumped a little anxiety into

the atmosphere this weekend.  I had invested an

emotional hope into the efforts of the Harbaugh brothers,

thinking what a great Superbowl that would be.

I've known Jim since he quarterbacked the

Colts and became a racing team partner

of two long time friends. Jim is an 

inspirational guy.

I can't help but feel bad for the Raven's kicker

and the 49ers receiver who had their big chance

turn into ashes.  I suspect the coaches

Harbaugh have met those emotional wounds

with something Jim said they learned at home

from their father, a coach.

Win or loose you have 24 hours to

either celebrate or feel bad, and then

you put it behind you and move on.

Jim and John Harbaugh are doing that

and I hope the players do as well.

IT WAS QUITE A PARTY

The sun came out and so did many friends

this weekend for Lana's Artist's Reception

at Windward Vineyard.

 You can see and read more about

her series of Plein Air Oils

Wandering the Central Coast

here.

I remain her #1 fan.

REEL THOUGHTS

TINKER TAILOR SOLDIER SPY

This is John Le Carre captured on film.

I'm a fan of his work, though have often found 

myself rereading pages and even making notes.

His plots are intricate, complex and cerebral. So are

his characters. I can't imagine a better George Smiley

than how Gary Oldman nailed the role.  John Hurt

as Control is brilliant -pained, overwhelmed, fatigued,

byzantine and long suffering.  Benedict Cumberbatch,

who is getting a lot of attention at Sherlock in the PBS

series, shows his range as Peter Gulliam.

Director Tomas Alfredson somehow managed to

capture the arcane world of Le Carre.  The 

look of the film is spot on perfect as to how

I imagined the world Le Carre painted with words.

But, as in the case of the book, you need to 

pay attention to this film. It is a cerebral exercise,

which is what many of us like about Le Carre.

It may even make you long for the old cold war!

See you down the trail.