Movie City Indie Archive for May, 2019

Friday Movies: ROCKETMAN, THE SOUVENIR, LAST YEAR AT MARIENBAD,THE BRINK

Taron Egerton as Elton John in Rocketman from Paramount Pictures.

Taron Egerton as Elton John in Rocketman from Paramount Pictures.

RocketmanRocketman, the biopic-jukebox musical strung upon the outpouring of songs written by Elton John and Bernie Taupin, is saved from its chock-a-block narrative impatience by the pure puppy-ness of Taron Egerton’s performance as Reg Dwight grown big and awful, rocketing toward his present twenty-eight years of sobriety. Camp is indicated more than embodied: the phantasm of Elton John’s feelings, both sad and flying high, plays as a deracinated version of a Baz Luhrmann canvas like Moulin Rouge than the Ken Russell bacchanal that would have incinerated the screen. (The script is by Lee Hall, who collaborated with John on the stage musical adaptation of his highly political Billy Elliot screenplay.) [More here.]

The-Souvenir-07.-By-Sandro-Kopp.-Courtesy-of-A24The Souvenir. Joanna Hogg’s The Souvenir is as mysterious as it is specific, tracing the drift of Julie, an intensely ambitious film student (Honor Swinton Byrne) who is distracted by a first true love affair, with Anthony (Tom Burke), a man who appears to take her seriously indeed. Set in the 1980s artistic era in which the writer-director grew up, Hogg’s fourth feature describes how a film narrative can flow around the range of thoughts and emotions that a shy young woman holds as she hopes to make art. Places and faces are equally expressive realms. Can imagination be mere delusion? What are her dreams? Hogg dreamt them, dreams them, again, as distanced onscreen memoir, and the dream is furthered by Byrne’s mesmerizing, fleeting performance. “Making the film, I’m allowing parts of my own biography to be re-imagined and expanded upon and changed,” Hogg has said. “I want it to become something else.” [More here.]

The-BRINK-2The Brink. Alison Klayman’s The Brink, an avatar of cinema-vérité observation, arrives in a hush and escalates with precision. Klayman records political consultant and purported intellectual powerhouse Stephen K. “Steve” Bannon after his dismissal from the arms of Trump power, and the rich result, captured by a filmmaker-cinematographer-sound recordist on their own, all on their own, is edited to a fierce ninety-minute form from day-after-day of close observation of a year in a life of wheeling and huffing and dealing and puffing. [More here.] iTunes, June 4.

marienbad-2

Last Year At Marienbad. [4k restoration; Criterion Blu upgrade.] Furiously beautiful and fatefully unforgettable, Alain Resnais’ Last Year at Marienbad (L’année dernière à Marienbad), released in 1961 and written by Alain Robbe-Grillet in an absurdly detailed screenplay, is of its time. Its greatness lies in being a riotous puzzle box with silken and sheer and shiny surfaces that should dazzle, somewhat comforting in their concreteness as figures and objects, but discomfiture of memory and time and dream in its very form. A fantastic world of impossible wealth and improbable ennui and sculptured hair and Coco Chanel couture tacking through castle and courtyard in the shapeliest but least-definable of waking dreams: it is a thundercrack. (Robbe-Grillet said he was describing “a purely mental space and time—those of dreams, perhaps, or of memory, those of any affective life—without worrying too much about the traditional relations of cause and effect, or about an absolute time sequence in the narrative.”) [More here.]

 

 

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“I always thought that once I had lived in Chicago for a while, it would be interesting to do a portrait of the city – but to do it at a significant time. Figuring out when would be the ideal time to do that was the trick. So when this election came around, coupled with the Laquan McDonald trial, it seemed like the ideal time to do the story. Having lived in Chicagoland for thirty-five-plus years and done a number of films here, I’ve always been struck by the vibrancy of the city and its toughness. Its tenderness too. I’ve always been interested in the people at the center of all the stories. This is a different film in that regard, because we’re not following a couple of individuals over the course of the project in the way that a lot of the films I’ve done have, but I still feel like people’s voices and aspirations and hopes are at the center of this series.

It wasn’t easy. We started back in July 2018, it was actually on the Fourth of July – that was our first shoot. It’s like most documentaries in that the further you go along the more involved and obsessed you get, and you just start shooting more and more and more. We threw ourselves into this crazy year in Chicago. We got up every day and tried to figure out if we should be out shooting or not, and what it is we should shoot. We were trying to balance following this massive political story of the mayor’s race and these significant moments like the Laquan McDonald trial with taking the pulse of people in the city that we encounter along the way and getting a sense of their lives and what it means to live here. By election day, Zak Piper, our producer, had something like six cameras out in the field. You could double-check that, it might have been seven. We had this organized team effort to hit all the candidates as they were voting, if they hadn’t already voted. We hit tons of polling places, were at the Board of Elections and then were at the parties for the candidates that we had been able to follow closely. Then of course, we were trying to make sure we were at the parties of the candidates who made it to the runoff. So, yeah, it was kind of a monster.”
~ Steve James On City So Real

“I really want to see The Irishman. I’ve heard it’s big brother Martin Scorsese’s masterpiece. But I really can’t find the time. The promotion schedule is so tight, there’s no opportunity to see a three and a half-hour movie. But I really want to see it. In 2017, right before Okja’s New York premiere, I had the chance to go to Scorsese’s office, which is in the DGA building. There’s a lovely screening room there, too, with film prints that he’s collected. I talked to him for about an hour. There’s no movie he hasn’t seen, even Korean films. We talked about what he’s seen and his past work. It was a glorious day. I’ve loved his work since I was in college. Who doesn’t? Anyone involved with movies must feel the same way.”
~ Bong Joon-ho