MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: Promised Land

PROMISED LAND (Two and a Half Stars)
U.S.: Gus Van Sant, 2012

Matt Damon, who’s become a kind of classic American leftist movie star– a Hank Fonda of the new millennium — has gotten trashed  by some right-wingers (and some moderates and left-wingers as well) for his new film Promised Land. But I think it’s pretty good — a Capraesque tale about a big natural gas corporation trying to get drilling rights to the gas deposits in a Pennsylvania farming town that’s fallen on hard times. Damon, who’s one of our best actors and doesn’t always get the credit he deserves (because, these days, he gets slammed for his politics), plays Steve Bennett, a small town Iowa guy who thinks he understands and relates to these small town Heartland people, and has  a Messianic sense about his job.

Steve, a genuinely nice guy, believes he’s saving the populace from the current economic downturn, rescuing them from the shocks and disappointments  he endured himself.  And, like most small town guys who made it big and later go back to the heartland, he’s just a little full of himself. When he arrives in (the fictitious) McKinley, with his more cynical working partner Sue Thomson (Frances McDormand), he’s not quite prepared for what he meets (though we are): a general store manager who sees right through him; an active, vocal populace; a retired teacher named Frank Yates (Hal Holbrook) who knows all the facts and figures and the bad side of gas drilling or “fracking“; a wised-up sexy schoolmarm, Alice (Rosemarie DeWitt);  and a slick, one-step-ahead environmentalist named Dustin Noble, who beats his time everywhere, including with Alice. Dustin, who may have been named after Dustin Hoffman, is played by John Krasinski, who also co-wrote the script with Damon, from a story by novelist Dave Eggers (the author of the ironically, nudgingly titled “A Heartbreaking Work of Staggering Genius“).

In other words, Promised Land is a realistic left-wing social drama about something that might actually happen in the real, everyday world —  instead of, say, about a maniac running from house to house, slashing people to bits, or monsters from hell rising up from the ground and chasing everybody to city hall, or an invasion of extraterrestrials or gangsters on the run staging sensational orgies and bloodbaths. Not that I have anything against movies like that, if they’re done well (and they occasionally are), but I don’t think Damon (or Krasinski) should get points off (or on) simply because they try to make movies that send us messages about issues they care about, or try to create real people, or face real problems, or real horrors. There are things that don’t work in Promised Land, but we’d be better off if there were more movies like it. And I wish there were.

The director Damon chose after deciding not to do it himself, was Gus Van Sant, and that was a wise choice. Van Sant has directed Damon twice before in Damon scripted movis — in Good Will Hunting, the  Oscar-winning realist message drama about social class and intelligence, with Ben Affleck,  and in the wild, weird, arty, long-take  lost-in-the-desert fable Gerry, with Ben’s brother Casey. It’s obvious that Van Sant and Damon click artistically (just as Damon and the Afflecks do).

Visually, Van Sant gets the small town atmosphere, the look and feel and the rhythms of these people, with both naturalism and poetry — and I say that as someone who hails from the Heartland myself, a small town Wisconsin guy. Van Sant, from that hip city Portland, Oregon, gives Promised Land a humanistic style and feel, and though the characters are in some sense, obviously and even preachily conceived, the story works right up to the end, which unfortunately depends on a surprise twist that isn’t adequately set up and, in some ways, doesn‘t make sense.

Damon’s acting though, and his sheer personality, carries a lot of the movie. Like the left-wing Fonda, and like Fonda’s life-long right-wing friend Jimmy Stewart, Damon is an all-American guy with personality and a brain, and a kind of unspoiled boyish quality that beguiles many audiences. That quality shines through Promised Land, a pop-political ballad of a movie about what’s best (and sometimes worst) is us. Enjoy the movie, and Damon, for their best. It may not be a heart-breaking work of staggering genius, but it’s good, solid, admirable. It’s heartland stuff.

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Wilmington

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas