“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
By David Poland firstname.lastname@example.org
Cannes Review: Foxcatcher (spoilers)
I don’t really want to review Foxcatcher. The script is solid. The direction is beautiful. The performances are topnotch.
I’m not really sure how much more I can say about it that is of value.
I can say that I don’t think it is at all about the corrupting nature of money. The money is really beyond the point. John DuPont was a sad, inconsolable rich kid. But the point is not that he had power from his wealth, but that he could never use the wealth to make himself happy and to some extent was trapped by his perception of his position.
There is some drug use, but my feeling is that this is about vulnerability, not power or being out of control. The film infers a possible sexual subtext to the wrestling that wrestlers insist is untrue all of the time. But is there a problem created by the drug use? Well… only if you take the inference of an unusual, abusive sexual incursion under the influence. But even if you go there, that incursion is a breach of the parental relationship, not a “drug problem.”
The following is my take on the story in the film. I am not usually one for retelling the story in a review, but I feel like so many reviews are suggesting that it is some other movie, I feel compelled, if only for my own sanity…
Foxcatcher is a movie about desperation for parental love. The two men at its center, Mark Schultz and John DuPont can’t fill the hole in their lives… Schultz’s caused by the death of his parents at a young age and DuPont caused by his unforgiving mother.
Schultz has a gold medal, but it’s not enough in many ways. DuPont is one of the richest men in the world, but is not interested in being what his mother wants and has found an affinity for a passion she deeply disrespects.
But if DuPont can lead his men to an Olympic gold medal, maybe she will finally respect him. And he knows what Mark Schultz needs (or thinks he needs)… a parental figure who is not his older brother, allowing him to individuation.
DuPont’s money isn’t really important to Schultz. It allows him some space, but DuPont’s mind-fuck is about making Mark feel special, capable, and powerful aside from the older brother who has overshadowed him all of his life.
And for a while, it all works. Mark wins the World Championship. But this does not convert Mrs. DuPont to seeing her son more kindly. DuPont needs more. So he insists on bringing Dave Schultz into the fold.
Ironically, DuPont’s wealth, which meant next to nothing to Mark, is everything to Dave. He has a wife and family to raise.
But once Dave, a natural leader, enters the picture, DuPont dumps his friend/son Mark. It’s every abandonment nightmare that Mark has ever had. And he shuts down.
In turn, DuPont starts to seek parental attention from Dave, who is a leader and otherwise superior in every way – except financially – to DuPont. This intensifies when DuPont’s mother dies and then again as it becomes clear that, even for money, Dave cannot pretend to respect DuPont the way he seeks.
This inevitably leads to DuPont killing his mother – as then embodied by Dave – and Mark being forced into independence, though forever to be haunted by his brother and DuPont as the tale becomes legend.
The movie is really missing the coda of where Mark is today. Is he still living in the shadow? Has he freed himself to some degree? Somewhere in the middle? Disconnected? It’s not my question to answer.
There are many wonderful things in this movie. And I am sure my view will evolve… not necessarily to thinking it something I don’t think it is now… but there is a richness to it that is of great value. But the movie reviews I read right after its screening were, to my eye, of some other movie altogether.
And so it goes…