No Lament For Lumet - The Guy's Still Got The Goods

It's been a very good week - reviewed below is the third film I've seen in a row at the theater that really lived up to its hype and may end up on my year end top ten. Also nice to report that it is the work of a director than many had long written off. So let's dig in:

BEFORE THE DEVIL KNOWS YOU'RE DEAD
(Dir. Sidney Lumet, 2007)

After the solid yet fairly unremarkable FIND ME GUILTY (2006) many (including me) expected the 82 year old Lumet, with a career behind him that included such undisputed classics as FAIL-SAFE, NETWORK, DOG DAY AFTERNOON, and SERPICO, to go gracefully into that good night.

There's nothing graceful about the characters and their actions in BEFORE THE DEVIL KNOWS YOU'RE DEAD though. With a economical pacing and frenetic fractured structure that youngsters like Tarentino and Soderbergh would kill for, this heist gone wrong parable is not only one of Lumet's best movies in possibly decades but is one of the year's best films. An emotionally detached Andy Hanson (Phillip Seymour Hoffman) and his twitching down-on-his-luck brother Hank (Ethan Hawke) decide to knock over a mom and pop jewelry store located in a New Jersey strip mall. 

Thing is - it's their actual Mom and Pop's (Albert Finney and Rosemary Harris) store - Hanson's Jewelry - and oh, Hawke is having an affair with Hoffman's wife (Marissa Tomei). I don't consider any of that plot info to be spoilers since all of that is revealed in the trailer but don't worry I won't spill any more - the build-up and juicy interlocking of vignettes here are so swift and satisfying that nobody needs further briefing. 

Titles such as "The Robbery" and "Three Days Before The Robbery" assign sections of the film to the different players (Hawke, Hoffman, And Finney - seems like Oscar winner Tomei picked the short straw) and shifts our sympathies or animosities between them as the plot-lines pile up. There is a fair amount of humor but like in NO COUNTRY FOR OLD MEN it hides in the darkness making audiences cringe at the same time they stifle a giggle. 

Hawke's Hank - a desperate dead-beat dad has such a cloud over his head and a wide-eyed puppy dog look (Finney says "he's still such a baby" at one point) that we are invited to laugh at him but there's nothing humorous about his older brother Andy. Hoffman's Andy - a jaded withdrawn real estate exec. with slicked back hair and fine tailored suits is disguising a desperation as deep and scarring as his brother's. 

Though Albert Finney, just a little younger than Lumet, appears pretty worse for wear (his mouth is always hanging open and he moves slowly and shakily) he can still bring the intensity as the most affecting character here - he alone may be the heart of this film (sorry again, Marissa). 

With Lumet's name attached as director to another project (GETTING OUT set for 2009) it looks like that good night will simply have to wait. 

More later...

NO COUNTRY FOR OLD MEN Enters The Classic Coen Bros. Canon - Just Don't Call It A Comeback

Cormac McCarthy: MILLER'S CROSSING is in that category. I don't want to embarrass you, but that's just a very, very fine movie.

Joel Coen: Eh, it's just a damn rip-off.

- Time Magazine Oct. 18th, 2007 (A Conversation Between Author Cormac McCarthy And The Coen Brothers) It has been a while since Joel and Ethan Coen unleashed a movie that really made an impact. Their last offerings - THE LADYKILLERS (2004), INTOLERABLE CRUELTY (2003), and a personal favorite of mine - THE MAN WHO WASN'T THERE (2001) all had their fair share of merits and moments but you'd have to reach back to O BROTHER WHERE ART THOU (2000) to cite any serious seismic blip on the pop culture radar. Even during this supposed down-time they never had a critically lambasted failure or did anything resembling "jumping the shark" so the held belief was they would check in with another masterpiece someday in the future. Well the day has now come with the instant classic that is: NO COUNTRY FOR OLD MEN (Dirs. Joel Coen & Ethan Coen, 2007) A more faithful adaptation of Cormac McCarthy's 2005 novel could not be imagined. There are a few transitional dialogue and setting embellishments but the bulk of this film is directly, word for word, from the brilliant book. In the vast plains of Rio Grande, Texas in 1980, Josh Brolin plays Llewelyn Moss - a poor Vietnam vet who one day when out hunting antelopes comes across a slew of dead bodies, a large surplus of heroin, and a satchel containing over 2 million dollars. He takes the satchel and returns to his wife (Kelly Macdonald) at his trailer park home but wakes in the middle of the night with what he himself recognizes as a "dumber than Hell" compulsion to return to the crime scene. Soon to be on his trail is what can only be described as a completely evil man - Chigurh (Javier Bardem). With an odd Prince Valiant-style haircut and a never ceasing confidence, Chigurh uses a cattle gun to kill just about anyone who gets in his way throughout the film (usually through the forehead) and it also comes in handy to blow out door locks. "What is this guy supposed to be, the ultimate bad-ass?" - Moss even asks Carson Wells (a smooth Woody Harrelson) - yet another man on the trail of the money. As Sherriff Bell and a sort of narrator in his grizzled though still whimsical monologues Tommy Lee Jones tries to make sense of these new violent times. He never appears surprised by each new bloody development - he takes it all in with a jaded shrugging sigh. Though many of the stylistic devices have been used and reused by the Coen Brothers before (the roadside murders, the seedy hotels, etc.) amidst the shoot-outs, chases and scary darkness there are waves of fresh subtleties that they hadn't explored before. The quirky everyday folk that reside in little general stores out in the middle of nowhere might have provoked ridicule before in such Coen classics as RAISING ARIZONA, FARGO, and O BROTHER but this time out I found the audience around me were tittering around - almost afraid to laugh at these people. Like Chigurh - who one character refers to as a man "without a sense of humor" seems to know all too well is that their fates, whether by his hands or by natural destiny, aren't that funny. More later...

Dylan Mythology Dissected Magnificently

"It has chaos, clocks, watermelons...you know what I'm sayin'...it's everything." - Jude (CATE BLANCHETT) I'M NOT THERE (Dir. Todd Haynes, 2007) It's funny that the upcoming WALK HARD: THE DEWEY COX STORY (the Judd Apatow written and produced comic mock epic with John C. Reilly as the lead) proposes to set fire to the tried and true clichés of modern music bio-pics because after the exciting experimental experience that is I'M NOT THERE those worn methods are already ashes. As most reading this know well by now Bob Dylan is portrayed by 6 different actors (Christian Bale, Cate Blanchett, Richard Gere, Marcus Carl Franklin, Heath Ledger, and Ben Whishaw) who embody the man in different distinct eras and incarnations. Each has a different name, a different attitude, and of course, a different aesthetic. It may seem weird or even a bit pretentious in concept to cast a young black kid as a box-car hopping tall-tale telling pre-fame Dylan or an Australian Academy Award winning woman to play his Bobness at the height of his amphetamine-fueled rock star glory but the way it's played out here is mindboggling in its magnificence. The finger-pointing protesting period provides the always up to the task Christian Bale with the Bob with most conscience through separate eras one - political and one intensely religious. Gere's Billy The Kid hiding from society persona seems to be the Dylan who is the most free - or at least pretending to be. Seemingly drawn from a tapestry woven from words spoken in every Dylan interview, every song in Dylan's catalogue being official or bootleg, and every single photograph or footage of the real man, some of the most affecting moments are the quietest. When Gere's Billy-variation-on-Bob surveys the vast unpopulated wilderness beneath him from a high mountain trail a notion of what Greil Marcus called the "Invisible Republic" can be sensed. That however is the musing of a Dylanologist like myself - someone who can't quote Bob chapter and verse may find that and other sequences slow and hard to decipher. Man, I pity those people. Cate Blanchet as Jude has the most amusing and electric (yep, I went there) material and her presence in the black and white as-if-filmed-by-Fellini mid-60's montages never falters. As many have remarked she may look and act the most like Dylan - at that particular time that is. She has obviously studied DON'T LOOK BACK so she has every mannerism perfected -right down to the handling of a cigarette and the frantic on-stage flailing of arms. Blanchett's Jude is the most hostile and cornered of all the Dylans. If you've seen NO DIRECTION HOME or have at least heard the leering lyrical equivalent to acid being thrown into a former lover's face ditty "Positively 4th Street" - you may have an inkling why.Ben Whishaw as Arthur is the Bob with the least impact and screen-time. He simply recites carefully chosen media-taunting cryptic one liners from the public record. While the quotes are good - he's my vote for the weakest link here. Ledger's section (or sections as the structure gets broken up quite frequently) in which he plays an actor playing Bob (or actually Jack - Christian Bale's character) has a lot of merit with its discomforting domestic bliss breakdown and break-up intertwined with a Vietnam war time-frame but it's not as well visualized and vital as Blanchett's or even Gere's portions. Marcus Carl Franklin's bits are achingly sweet and for the youngest player here - his assured poise transcends any thought of gimmick casting. Other than the Dylans, the supporting cast is splendid - David Cross as Allen Ginsberg, Julianne Moore wonderfully mimics Joan Baez, and Bruce Greenword beautifully personifies the over-educated but still clueless interviewer / interrogator Mr. Jones from Dylan's classic "Ballad Of A Thin Man". Filled with mostly Bob originals and a number of great sharp covers, the soundtrack * is spectacular but that's far from surprising. What is surprising is how this perverse take on the bio-pic formula works so damn well and how hypnotic its effect is. One shouldn't go see it to make sense of the myths or to put into any concrete cinematic context the life of Bob Dylan (director/writer Todd Haynes knew going in that that's impossible) but if one views it like a piece of modern art - where you have to squint to make certain parts focus and you have to open your eyes wide to see how distorted the details really are - they are certain to get more than just mere glimpses at greatness. * As I suspected the bulk of the covers that make up the 2 disc so-called soundtrack (previously reviewed - Film Babble Blog 11/10/07 I'M NOT THERE Soundtrack Is Where It's At) are not featured in the movie. The amount of original Dylan recordings used could make up a nice alternate/actually accurate soundtrack - hey, now there's an idea for a great CDR comp! More later...