* * *
It’s an hour after leaving the theater and I’m at a local grocery store waiting in line: one of my least favorite things to do in the whole world. The clerk and the another employee chat about last night’s party: and who got drunk and who didn’t, and who left early and who didn’t, and neither of them know that waiting in line is my least favorite thing – in the whole world – and it’s obvious they wouldn’t care if they did know. So I think about the movie, Ron Howard’s latest, Cinderella Man, and I think about the Great Depression and how I wish these two employees could be swept away into a time vortex and be tossed like loose change somewhere into the Arkansas, New Jersey, Chicago, or Oklahoma of the 1930's.
On June 13th, 1935, the United States was in the midst of The Great Depression, twenty-five percent of the working population, 15,000,000 people, were out of work and James J. Braddock won the Heavy Weight Championship title of the world from Max Baer, the Mike Tyson of his day. I’m no pugilist afficionado but I’ve always had some fascination for the sweet science so I went to see this film knowing how Braddock wins the title. What I wasn’t prepared for was the creeping concern I had, near the end, that Braddock was going to lose the fight. I knew better I just couldn’t help but be drawn into the movie process that had been built by fine directing and great acting.
Russell Crowe as James Braddock offers a clear, all-encompassing image of the Depression when he portrays Braddock’s lowest moment. Ruined, like many by the crash, Braddock is at the end of his career as a boxer. No money, no fights, no job Braddock must go, literally hat in hand, to beg money from men who had made fortunes from his past exploits in the ring – to buy milk for his hungry children. During this scene, Braddock’s manager, Joe Gould (Paul Giamatti) looks on aghast as the once proud fighter collects mostly small coins and snubs. In the story background, wife, Meg (Renee Zellweger) and his three children reveal the fears of millions of family’s that were affected: the fear of being separated: farmed-out to those more fortunate. In the end, like all Howard movies, the hero wins with an undaunted spirit and selfless honor, but in the case of Braddock this is all too true.
The other surprise here is how blessed I felt as I left the theater. The story, a bio-pic, is also a revelation of what we tend to shove into that dusty, neglected place called history. There is that touch Howard always brings; that “everything will be fine,” touch. But, this is a movie that might teach, might bring back what’s important, might reveal something about those who lived through that time. My mother was born at the beginning of the Depression and her history is not unlike the movie. A father without work, a family separated and farmed-out, grateful for hand-me-downs and a pair of new shoes once every couple-of-years.
I move up in line and the two store employees now regard me as another interruption. “Yes?” Are you buying something or what?” Funny how far we’ve come and how much we’ve lost. Where the heck is that time vortex, anyway?
Sunday, February 10, 2008
Bridget Jones' Dull Diary
* *
After a very successful initial outing three years ago, this storyline – girl talks for two hours as if she’s writing in her diary and tells us about her pathetic love life – reminds me of that old adage about beating a dead horse. The proof is in the list of writers that take up a page of credits at the end of the movie. This list of “ands” indicates problems in scripting, “and” that is where this film died, in the hands of the writers.
There is great star power here and each player provides a credible performance as the exact same character they played in the first film. Renee Zellweger, as Bridget Jones, again gains forty pounds for the roll, and as the new generation Lucy we follow her waddling efforts at relationship building through a series of mishaps. Colin Firth gives us the same reliable, compulsive/obsessive, passionless rock in the character of Mark Darcy, as he did in the first film, but by now I’m beginning to believe that this may be the only role he can play. And, Hugh Grant, always the cad as Daniel Cleaver .... well, by now you get it; nothings changed, except Hugh gets all the best lines. The only ray of light in this film is the group of friends that continue to provide bad advice. It’s too bad that the writers didn’t have the sense to lead the horse down this path; these folks are actually funny.
It’s not that this movie is without some small bit of charm, but it’s all provided by the power of the cast and eventually (about 20 minutes in) this wears away as we begin to feel a dreaded sense of deja vu. Films with strong Main Characters, especially films named for the lead, must provide events that truly challenge that character (are you writers paying attention?) and the problem here is that nothing really challenges Bridgette. That is, nothing that we really care about. She simply ambles from one embarrassing moment to the next. Movies are like any business and some movies are similar to sports franchise’s in that if they build a following the first time out they are able to repeat their success with that same loyal group. I enjoyed the first of Bridget’s series of misadventures immensely, and that is why this film is such a disappointment. At this point, if there is a sequel to this sequel, Bridget will have to be in the company of the Cat Woman, Indira Ghandi and the entire bench of the Detroit Pistons to get my money. My prediction is that this franchise is about as dead as that horse. Please put the whip down.
After a very successful initial outing three years ago, this storyline – girl talks for two hours as if she’s writing in her diary and tells us about her pathetic love life – reminds me of that old adage about beating a dead horse. The proof is in the list of writers that take up a page of credits at the end of the movie. This list of “ands” indicates problems in scripting, “and” that is where this film died, in the hands of the writers.
There is great star power here and each player provides a credible performance as the exact same character they played in the first film. Renee Zellweger, as Bridget Jones, again gains forty pounds for the roll, and as the new generation Lucy we follow her waddling efforts at relationship building through a series of mishaps. Colin Firth gives us the same reliable, compulsive/obsessive, passionless rock in the character of Mark Darcy, as he did in the first film, but by now I’m beginning to believe that this may be the only role he can play. And, Hugh Grant, always the cad as Daniel Cleaver .... well, by now you get it; nothings changed, except Hugh gets all the best lines. The only ray of light in this film is the group of friends that continue to provide bad advice. It’s too bad that the writers didn’t have the sense to lead the horse down this path; these folks are actually funny.
It’s not that this movie is without some small bit of charm, but it’s all provided by the power of the cast and eventually (about 20 minutes in) this wears away as we begin to feel a dreaded sense of deja vu. Films with strong Main Characters, especially films named for the lead, must provide events that truly challenge that character (are you writers paying attention?) and the problem here is that nothing really challenges Bridgette. That is, nothing that we really care about. She simply ambles from one embarrassing moment to the next. Movies are like any business and some movies are similar to sports franchise’s in that if they build a following the first time out they are able to repeat their success with that same loyal group. I enjoyed the first of Bridget’s series of misadventures immensely, and that is why this film is such a disappointment. At this point, if there is a sequel to this sequel, Bridget will have to be in the company of the Cat Woman, Indira Ghandi and the entire bench of the Detroit Pistons to get my money. My prediction is that this franchise is about as dead as that horse. Please put the whip down.
Bend It Like Beckham
* * *
Okay, who’s this Beckham guy and what in the world does it mean to bend it like him? This is a most peculiar, almost indecipherable title, and I think that it’s the reason I continue to find hoards of people who haven’t seen this funny film. Faces scrunch-up, heads turn curiously and then the same question, “What’s a Beckham, and why is it bent?”
Bend It Like Beckham is not heavy fare, but a fun-loving, feel-good film that takes you on a trip to a neighborhood in London. Here, while you view the localized world of a female soccer league, you’ll find out what it means to “bend it like Beckham.” You also learn; who Beckham is without really seeing him, that prejudice runs blind to color in every direction and that the rest of the world really hasn’t heard of women’s liberation, yet.
As plans are being made for the wedding of her older sister, Jess Bhamra (Parminder Nagra) spawns an untraditional conflict within her very traditional Sikh family. Although not belabored, the point is often made that while Sikh women may play important roles in Sikh society ... they don’t play soccer! They get married, have children and take care of their husbands.
While part of the movie weaves, a bit clumsily, the on-again, off-again wedding plans with the scenes of Jess’s efforts to “bend it,” very little footage is actually dedicated to soccer. There are few practice scenes and fewer game scenes. This is good for those out there that think, “Soccer, isn’t that what those silly European’s call football?” but this may be a little disappointing for soccer fans.
The real core of this story begins when the teenage Jess gets drawn into a local women’s soccer league by new friend, Jules (Kiera Knightley). Jules convinces Jess that she has real talent and needs to take advantage of a team opening. Jess makes the team but is averse to telling her family about this personal victory and the rest of story follows the typical, but humorous, hide-and-seek routine. Finally, she can no longer avoid the fact that the all important play-off’s and her sister’s wedding are on the same day and she is forced to follow the path of family tradition. But ... it all works out. You knew that, didn’t you?
This piece, by director Gurinder Chadha, is a perfect outing for families, for those in need of a film where something isn’t being blown up, or for those of you who are tired of playing mental chess in order to understand what’s going on. For fans of Bollywood, there is even the traditional song and dance performance, right near the end, so that you leave with a smile. Whether or not it’s possible to bend it like Beckham, it’s impossible not to like this film.
Okay, who’s this Beckham guy and what in the world does it mean to bend it like him? This is a most peculiar, almost indecipherable title, and I think that it’s the reason I continue to find hoards of people who haven’t seen this funny film. Faces scrunch-up, heads turn curiously and then the same question, “What’s a Beckham, and why is it bent?”
Bend It Like Beckham is not heavy fare, but a fun-loving, feel-good film that takes you on a trip to a neighborhood in London. Here, while you view the localized world of a female soccer league, you’ll find out what it means to “bend it like Beckham.” You also learn; who Beckham is without really seeing him, that prejudice runs blind to color in every direction and that the rest of the world really hasn’t heard of women’s liberation, yet.
As plans are being made for the wedding of her older sister, Jess Bhamra (Parminder Nagra) spawns an untraditional conflict within her very traditional Sikh family. Although not belabored, the point is often made that while Sikh women may play important roles in Sikh society ... they don’t play soccer! They get married, have children and take care of their husbands.
While part of the movie weaves, a bit clumsily, the on-again, off-again wedding plans with the scenes of Jess’s efforts to “bend it,” very little footage is actually dedicated to soccer. There are few practice scenes and fewer game scenes. This is good for those out there that think, “Soccer, isn’t that what those silly European’s call football?” but this may be a little disappointing for soccer fans.
The real core of this story begins when the teenage Jess gets drawn into a local women’s soccer league by new friend, Jules (Kiera Knightley). Jules convinces Jess that she has real talent and needs to take advantage of a team opening. Jess makes the team but is averse to telling her family about this personal victory and the rest of story follows the typical, but humorous, hide-and-seek routine. Finally, she can no longer avoid the fact that the all important play-off’s and her sister’s wedding are on the same day and she is forced to follow the path of family tradition. But ... it all works out. You knew that, didn’t you?
This piece, by director Gurinder Chadha, is a perfect outing for families, for those in need of a film where something isn’t being blown up, or for those of you who are tired of playing mental chess in order to understand what’s going on. For fans of Bollywood, there is even the traditional song and dance performance, right near the end, so that you leave with a smile. Whether or not it’s possible to bend it like Beckham, it’s impossible not to like this film.
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