So Long, Friend.

So Long, Friend.

Interaction between actors is key in order to fully enjoy a movie, isn’t it? There have been countless movies, even ambitious ones, with interesting concepts, fine directors, but when the interaction between actors isn’t there everything comes crashing down.  There has to be some sort of understanding between the characters, a feeling of acknowledgment because sometimes actors carry huge egos with them and this can become a problem on screen.

That is why people like to praise chemistry. Chemistry is what we see in Hot FuzzThe Birdcage, Chungking Express, A Bronx Tale or Some Like it Hot. Sometimes movies like to rely on characters rather than plots, and that’s when characters played by actors need some content. They need to have that raw feeling of existence.

Here are my top five movie duos of all time;

  1.  WALTER MATTHAU / JACK LEMMON

    – It’s almost impossible to set these two apart. Nowadays, when people think of comedy they think of Bill Hader, Kristen Wiig, Melissa McCarthy, Steve Carell or Jonah Hill but they also tend to forget an old breed of actors that will never fade away from our screens. Sure, once you had Chaplin, Buster Keaton, Jerry Lewis and all those old school faces. However, my personal favorite, a duo of such talented actors that it didn’t matter if it was comedy or drama – they always delivered – has got to be the Matthau / Lemmon engine. They added warmth and genuineness to their relationship on screen. Surely, the fact that they treated each other like brothers off screen played a big role.  When they faced off nobody could stop the laughs. They were that good. They were the real deal.
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2.  SOPHIA LOREN / MARCELLO MASTROIANNI          in  A Special Day

–  They have worked on countless projects together but I need to make the distinction for this one.  Loren and Mastroianni were the giants of Italian cinema for decades. Loren had won an Oscar, while Mastroianni had been nominated 3 times by the time they teamed up for this film. For those of you who haven’t seen it, I strongly recommend it  because a movie like this one doesn’t come around so often.  Lost among countless movies that deal with the same subject matter – fascist rule and oppression – A Special Day shines there where others miss as it keeps the entire drama within an apartment building in Rome and lets the actors do their job. Believe me, it works to perfection. Mastroianni plays a lonely man, clearly afraid of something or someone, while Loren is the mother of four and the wife of a cheating husband. He is on the run, she stays at home and takes care of the family mess. They are cut off from reality and at the same time they are the victims of it. What the two actors achieve in terms of chemistry is untouchable: they share the pain, they share the moments of pure silence, they share laughs and they know when too far is too far. They don’t fall into melodrama. They stay afloat. Together, they represent a cry for freedom.

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3.  HEATH LEDGER / JAKE GYLLENHAAL         in Brokeback Mountain

– If you want to talk about heartbreak, here it is. It’s difficult to pull of a good comedy as a couple but it’s perhaps harder to pull off a good drama as a gay couple.  Ledger and Gyllenhaal immortalized two very different roles in the most memorable way possible.  The story is incredibly important when it comes to Brokeback Mountain, but the performances are even more so. Thank God Ang Lee casted these two magnificent actors because I doubt anyone can think of a better acting duo for this kind of job. It’s the quiet moments that count in Ang Lee’s movie, when the two cowboys feel timid and ashamed of their sexuality.  It’s the moments of hesitation that follow the first kiss between the two. Gyllenhaal’s Jack Twist is the boyish cowboy of the two.  He is the one who believes in dreams, who thinks anything is possible if taken care of properly. Meanwhile, Ledger plays the quieter one, the tough guy on the exterior. He pulls off one of the best performances by an actor I think we’ll ever see. When these two confront each other, the movie becomes alive because of how well they understand the importance of their roles and their forbidden relationship. The feeling between the two men is palpable and at the end, we want to touch it, bathe in it, but it’s not there anymore. It’s been cut in half.

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4.  JOHN WAYNE  /  WALTER BRENNAN         in Rio Bravo

– The most iconic duo in cinema? Well, for me it’s the pairing of two of the biggest stars of the 40s and 50s. Wayne and Brennan are the essence of the Wild West. If you want to dive into the Western genre, pick any of their movies. My number one choice goes to their pairing in Rio Bravo, a classic movie that in so many ways talks about things that still matter to this day.  John Wayne plays Sheriff John T. Chance, a lawman of the dying breed who wants end injustice on the streets of a small town, while Walter Brennan is Stumpy, the devoted long-time deputy of the Sheriff. The two actors, after having worked on a few projects prior to this movie (the most important of all, Red River), have a similar comedic chemistry to Matthau and Lemmon’s, meaning they know how to play off of one another. Stumpy is the grumpy character while Wayne is the man who tries to act stern and serious and ends up smiling anyway. The two work miracles with a script that could have easily been just another classic Western shoot-the-bad-guys-crack-a-few-jokes kind of movie. Brennan and Wayne clearly know how to have fun while acting and make the most out of so many glorious scenes, especially the last stand-off. They don’t make them like this anymore.

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5.  MAGGIE CHEUNG / TONY LEUNG  CHIU-WAI          in In The Mood For Love

– This one is a more discrete choice for a top acting duo. Wong Kar-Wai’s love story is a complex study of physiological pain and loneliness which follows two characters, Mrs. Chan and Chow Mo-wan, as they discover that their respective partners are cheating on them.  This unconventional love story turns into a game of chess, because as they dive into their loneliness, both characters get closer to each other. The two leads  have the task to deliver an emotional impact on the viewer while trying to keep up with the director’s experimental instructions. Wong Kar-Wai is one of the finest, ‘weirdest’ directors out there and his filmmaking style focuses much more on the directing part of the job than the part that consists of instructing the actors on what to do.  The two leads have to invent themselves and then again, re-invent themselves as the plot shifts and ends in a very gentle, subtle and elegant manner. A movie so perfectly crafted and yet so powerful can only be achieved with two great performances by actors that know what to do and when.

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And the Oscar goes to…

And the Oscar goes to…

Today’s topic: this year’s Oscar nominations. Many people tend to ignore the Oscars, simply considering it a celebrity event, and even more people don’t care about Oscar status as a whole. Rightly so. However, it is important to remember that being nominated for or even winning the prestigious golden boy often leads to more possibilities for the ones involved, salary raise, better connections and more responsibilities. It’s a chance for small, indie films that normally would end up going under the radar, to shine and prove the world wrong. It’s a chance for disadvantaged contenders, such as minorities, to become an example for the rest of the industry. Well guess what. The Oscars like to forget about that. Every once in a while they remind themselves like that time when they took a chance at wonder boy screenwriter Quentin Tarantino back in 1995. Or that time they awarded in both acting categories two black actors: Denzel Washington and Halle Berry in 2002.  Or even that time they finally recognized Martin Scorsese for his lifelong career handing him the way overdue Oscar in 2007 for The Departed. And sometimes, Oscars manage to reach the unreachable level of stupidity, like last year… and this year.

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After 40 years in the business and countless nominations…

The concept of women winning or even being nominated in a male dominated category is quite rare to say the least in the film industry. After Kathryn Bigelow won best picture and best director for the Hurt Locker in 2010, the Oscar voters decided to take a step back and let the big change fall flat again. Last year, they ignored the talent of Ava DuVernay who directed the mediocre but in directing terms roaring Selma, the story of Martin Luther King and the impact his politics had on the streets in the US. That day they also decided to ignore Oyelowo’s performance as MLK, a convincing and powerful portrayal of a man who found himself cornered by his own decisions and policies. Why? Because in 2014, 12 Years a Slave won best picture. It had to. It sure wasn’t the best picture of that year but Oscar voters couldn’t turn away and ignore it because its message was too powerful. And that was it. No more diversity for the next two years and counting.

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A forgotten duo, DuVernay and Oyelowo.

Have you people heard of Beasts of No Nation? Probably not, since it only came out via Netflix and in a few theaters in the US back in October, but let me tell you: the story of a child soldier, Agu, in an African country who kills in the name of his beloved commander is one of the best films of this year. Under the direction of Cary Fukunaga, the man behind the acclaimed first season of True Detective, this film is one of the most brutally honest portrayals of war I’ve ever seen and yet the Academy decides not to give it a chance because of its online distribution. Shouldn’t movies be about change? About modernization? About heading forward? About exploration? Well, for the voters the answer is NO. Idris Elba, star of the British TV drama Luther, gives a terrifying performance as the black leader who numbs the African youth and manipulates them into thinking he is, in fact, a true god, someone who’ll lead them to glory and make them forget about the past. His mannerisms, his voice, the thick African accent he applies to his own speech, these are all signs of a great actor giving a great performance. Yet it’s not enough for the Academy to recognize him as a possible candidate for Best Supporting Actor. Shame.

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A performance for the ages. Make it justice and watch it.

You’d think then, if the Academy goes white,  it does it in proper style. Not even close. This year’s choices have been cruel. Let Jennifer Lawrence, star of the empty Joy, get her fourth nomination while you ignore Charlize Theron for her incredible performance as Furiosa in Mad Max Fury Road. Why is Lawrence there? Not only was Joy one of this year’s worst films, following every worn-out form of narrative we’ve all seen countless times under David O. Russel’s underwhelming direction, it was also a big office flop. It’s unusual because the Academy tends to go for the big hits. This time it’s the name that counts. Jennifer Lawrence. Enough of her already. After the tough performance she gave in the truly deserving Winter’s Bone, the Academy handed her one for Silver Linings Playbook and nominated her in another head scratching movie, David O. Russel’s American Hustle, making out of a simple twenty year old actress a true Hollywood diva, the highest paid actor in all of the industry with a salary of $26 mln (ironically she speaks out about pay inequality towards women). This celebrity status makes it easier for the Academy because this way they nominate the same famous name all the time and they don’t have to worry about other performances going under the radar. Simple as that, right? Yes, Theron was better. Theron gave in my opinion the best female performance of the year, playing a beautiful character (George Miller’s invention) in a not so beautiful post apocalyptic world. Her shaved head, her robotic arm, her fiery eyes turned what could have been another action blockbuster into an intimate portrayal of human strength and more precisely, women’s strength. However, Oscars like to miss the small stuff, and like to focus on the big stuff: in this case, explosions, real life stunts and roaring action sequences. Well, damn. Shame.

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A real queen.

Okay, now if you like to ignore small stuff why don’t you go for Benicio Del Toro’s career best role as Alejandro in Sicario? Not only did they  choose to ignore the movie as a possible best picture/ best director/ best original screenplay contender; the voters also decided to ignore what is to me and to many reviewers, one of the best revenge driven characters in recent film history. Del Toro went all in, a silent, deadly man who’s suffered too much to tell. A man who’s seen hell and back and doesn’t want to show it. A man who’s set himself an objective. And he’s fighting for it. That too, to the Academy means – nada. No nomination for you, Benicio. It wasn’t fancy enough. Your name hasn’t been so relevant since you played Che Guevara in 2008′ Che, the four hour long biopic of the most revolutionary leader of the twentieth century. These are the brakes, says the Academy. Luckily let’s hope this performance leads Del Toro to take on many more of these complex, tough as hell roles, because he nailed it. That’s that. Shame.

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Next time, Benicio, next time.

Of course, after so many fans and critics felt irritated after The Dark Knight was snubbed for best picture back in 2009,  the Academy decided to make ten slots for best picture nominees instead of five. That way independent movies and even blockbusters like The Dark Knight itself could have the chance to be nominated in that hard fought category with the best of the best. Yeah, not really. Although I have to hand it to the Oscars for giving Mad Max Fury Road and Room a chance to prove the world wrong, the Academy decided to leave two slots empty, nominating only eight movies instead of ten. Was it so hard to decide? Carol, a work of art by acclaimed director Todd Haynes with great performances given by Cate Blanchett and Rooney Mara, a story of a forbidden love in a forbidden age, one of the movies that was considered sure Oscar material has been totally forgotten. Haynes’ direction as well, sadly. Okay, well you’d think they’d go with someone they know and trust. Like Tarantino and his three hour long epic – The Hateful Eight. Guess what, too much violence. Too much blood. Too much profanity. And it all takes place in a stage-like environment. Not too attractive for the voters. They decided to ignore Quentin’s passion for the Western genre, they ignored the artistry in his Sergio Leone inspired close-ups and oddly enough, they decided to ignore his screenplay – a tribute to a whole world that only Quentin knows so much about, and that is the world of movies. The Hateful Eight is a mix of the macho characters of the forties and fifties played by tough guys like Lee Marvin and Steve McQueen. It’s a mix of Western TV series like Bonanza and Rawhide. It’s his final say to his endless love for The Dollars Trilogy and Once Upon a Time in the West. The Academy doesn’t see it. Well, shame.

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They want Quentin to be more conventional. That’s not going to happen, is it?

Honestly, this year was bad, but there were also tiny bright spots – youngster Brie Larson nominated in the best actress category and old timer Charlotte Rampling nominated in the same one as well. Rachel McAdams, usually considered a sex symbol with movies like The Notebook, Mean Girls and About Time under her belt, was given a chance to prove she can act her heart out with her performance in this year’s Spotlight. The incredible determination in Tom Hardy’s amazing performance as John Fitzgerald in The Revenant was finally recognized by an award show other than the usually reliable BAFTA. That’s good.

Let’s keep in mind. These award shows, like DiCaprio said, are not the reason movies are made. An award is an award, it’s film that stays forever.

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The Revenant sure will stay forever. It’s gold.

 

The Charming Cop

The Charming Cop

Today’s topic: LA Confidential, and more precisely the character of Jack Vincennes. The superb noir drama, Oscar winning picture that came out in 1997, gives me the chills every time I give it a watch. For those of you who are not familiar with the title I just mentioned, I’ll say this: find it and enjoy. What a ride it is to dive into the 1950’s Los Angeles and its world of corruption and greed; always a pleasure.

However, every time I give this film a shot and every time I try to grasp every second of this cinematic landmark, I focus nearly all of my attention on Jack Vincennes, the “showman” cop played superbly by the one and only, Kevin Spacey. Spacey was having the best years of his career, having already won an Oscar for “The Usual Suspects” in spring 1996, he was on a roll when the screenplay for LA Confidential got to him. Under the direction of Curtis Hanson (8 Mile), Spacey created a character so layered and so profoundly human (also based on Dean Martin, the iconic singer) that audiences and critics were stunned when the Academy passed on this role. His charm and wit take over the screen, I can tell you that.

Jack Vincennes is a good man. He is. However, he is also the wrong man at the right place. Why? Well, he dresses very elegantly, is handsome and knows how to handle hot situations. The world of show business attracts him not because of the pay or the glamour of the red carpet, but because he wants to feel right, he wants to put his foot down and let the world take notice of his input. What can a cop bring into a world where gangsters rule Hollywood, drugs keep getting into the poor neighbourhoods of LA and prostitutes try to look like movie stars? There is nothing out there that a simple policeman can do. He pulls out a badge and that’s it, file a report, then report back to your superior, go home and have a drink before heading off to bed. Does the Medal of Merit save you from this ugly world? No. You just need to know the right people and you need to know how to slip some money under the counter. That’s it. That’s when you profited in those days and still do now.

Vincennes is a man who’s always tried to pass above that. Sure, he’d snatch a little weed for himself, pay off the watchman and make a couple of headlines but he always did it while aiming higher. Higher than the grey skies of Los Angeles, ironically The City of Angels, “Where dreams come true, hush-hush”.  And since everyone needs a key to success, Jack has the “Badge of Honor” hit TV show; an opportunity to teach someone about how a cop really feels and acts when hurt, when happy, when drunk. Vincennes’ a mentor, a guru for aspiring actors and is also the ladies’ man at the parties.

At the end of the movie, when things go really bad, that’s when Jack forces himself to show the LA underworld his true colours, to prove to himself that he isn’t just about the money and fame. He goes and tries to make things right, and more specifically he tries to save a young man who he put into deep trouble for his own dirty $50 and a chance to get back at a pretentious superior. That’s when Jack realizes that he’s been battling these kind of situations his whole life. He’s been trying to get out his real self his whole damn, corrupt life and now he has the chance to make it right. And he does. He pays the bill.

That’s who Jack Vincennes is or at least who I think he is or represents. I think Jack Vincennes sleeps inside all of us and is waiting for us to wake him up, and that’ll happen when duty will call. Rest assured.

Hush-hush.

Trying to make things right always requires sacrifices.
Trying to make things right always requires sacrifices. Jack knows best.