By Other Voices voices@moviecitynews.com

LETTERS FROM LARRY

DEAR DAVID:
Heading up at some ungodly hour to Sundance, tomorrow morning.

Have noticed that there are three films playing at the festival this year that I’ve seen already, and I thought all three of them happen to be utterly worth seeing.

Sympathy for Delicious is the directorial debut of Mark Ruffalo from a script by the film’s star Christopher Thornton. (Full disclosure: I’ve worked with Mark and think he’s a terrific guy but that is emphatically NOT why I like this film as much as I do.)

Starting off with a convincing depiction of the homeless community in downtown LA and focusing on one particularly bitter guy (Thornton) whose poverty is compounded by his being confined to a wheelchair. We’re also introduced to a compassionate priest (played by Ruffalo) who tries to make sure the community gets fed. The story seems to be a pretty worthwhile, if familiar, piece of social realism for awhile. Then it makes a dangerous and difficult swerve you don’t see coming:

SPOILER ALERT

‘Delicious’ Dean O’Dwyer displays healing powers. He fixes people, but not himself. The priest tries to get him to channel this gift in constructive ways, but O’Dwyer harbors a passion to make rock-and-roll music—and he’s not above using this new power in manipulative ways to advance his career.

SPOILER ALERT OVER
One of the many complicated ideas this film gets at is that having a gift doesn’t necessarily make it easier for you to be a better person.

The film makes a dizzying and largely successful turn toward social commentary and religious allegory, always done with a mixture of realism and dark humor worthy of some of the most interesting movies written by Paddy Chayefsky, like Networkand Altered States.

What’s mainly amazing is how skillfully Ruffalo is able to represent rise to glory and fall from grace of this character on a tiny budget.

What’s not amazing perhaps, given Ruffalo’s background, is the uniform excellence of the cast. Thornton is restrained and persuasive in what is clearly the role of his life…Juliette Lewis is spunky and sad as the rock chick who reaches out to help him,…. Laura Linney, Ruffalo’s acting partner from the much-loved You Can Count on Me, is both funny and scary as a rapacious showbiz attorney…

But the real revelation is Orlando Bloom as a rock-and-roller with the ego to be Mick Jagger but not quite the talent. Bloom is so utterly into this part that for a long time I couldn’t recognize him. The talent that seemed exclusively limited to and defined by the Pirates of the Caribbean andLord of the Rings movies flourishes again here in this completely fresh and unexpected setting and Ruffalo deserves great credit for seeing and believing that Bloom could do this.

The first step in Mark Ruffalo’s career as a movie director, and the artistic rebirth of Orlando Bloom’s acting career could make Sympathy for Delicious one of Sundance 2010’s upbeat stories.

The other two movies that I want to very much recommend are French films I saw last year at Cannes, A Prophet and Enter the Void. (New chief Cooper’s decision to show stuff from other festivals is worth some discussion… personally, I’m for it.) More on them a bit later. We have to pack.

Larry

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Larry Gross is a 25 year screenwriting veteran and Winner of Sundance’s Waldo Salt Screenwriting Award for his most recent release, We Don’t Live Here Anymore.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch