Tag Archives: Emmanuel Lubezki

Reverence for The Revenant

The Revenant_04

Oh, how I wish I could have gone into The Revenant completely cold, knowing nothing other than it was Inarritu and DiCaprio.  Curiously the film suffers from following an amazing, shrewdly edited trailer that promised uncompromised tension as DiCaprio fights for survival across dreadfully gorgeous cinemascope-worthy mountainous winter landscapes photographed in otherworldly fashion by the king of pretty “sunlight through trees” cinematography Emmanuel Lubezki.  What if I hadn’t known that epic bear attack was coming?  What if I hadn’t known Tom Hardy was going to murder (wait, does everyone know this yet?).  What if…what if…what a shock the film would’ve been had I not already known its moves.

Bu the trailer and its subsequent building buzz hit perfectly on everything:

  • This was loosely (very loosely) based on a harrowing true tale that became a book.
  • DiCaprio gets viciously mauled by a bear (in fact, gets his throat almost ripped out and spends the rest of the film in sparse, pained speech when not completely silent or gurgling blood) and left for dead.
  • Mother Nature is both heartless and beautiful.
  • Tom Hardy (sporting his own unique growling speech and interesting accent) is gonna get his.

Despite being in awe of the craftsmanship and audacity of its scope, watching the film seemed stripped of any suspense.  You feel like you’re going through the motions even though it’s utterly captivating from a visual sense.  Continue reading →

The Sound and the Fury of Birdman

Birdman

Alejandro Gonzalez Inarritu’s Birdman (from an a script inexplicable penned by the director and three others) might be a film about a washed-up action star writing and directing a Broadway adaptation of Raymond Carver’s classic short story, “What We Talk About When We Talk About Love,” but it’s that old Shakespeare quote about life being, “…a tale.  Told by an idiot, full of sound and fury.  Signifying nothing.” which inspired the title of William Faulkner’s alleged magnum opus (I’m not going to go off on a side-rant here about how Light in August is really his magnum opus and not The Sound and the Fury, which to me was always so…well…kinda like this Birdman here…self-indulgent) that runs through a viewer’s mind while watching Michael Keaton ACT!

Birdman is the super hero Riggan Thomson (Keaton) played twenty years ago and made him a mega-celebrity.  The Carver play is the intimate character-driven art piece he so desperately wants to restore his street cred and remake him into an Actor rather than a celebrity.  Inarritu’s film, in which the Birdman, the man who played him, and the play he creates exist, is exactly the type of film that people who watch only movies like Birdman (as in the explosion filled super hero movie within the film Birdman, not the actual film Birdman) think people who go to watch films like Birdman (the film, not the movie within the film) go to watch.  I can tell you now, Birdman, at times, is the worst type of those types of films that I like to watch.   It’s also, at times, maddeningly brilliant.

Inarritu’s central conceit is all so very meta and insular, appealing to those who believe in the myth of the tortured artist (“What do you risk?” Keaton blusteringly asks a brusk Broadway critic, “I RISK EVERYTHING ON THE STAGE!”) and those who live it.  It’s been dissected many times before.  It brought to mind the lines from a classic episode of Seinfeld where Jerry is forced to wear a fur coat and man-purse and the building super Silvio mocks him saying, “No, he’s very fancy! Want me, love me! Shower me with kisses!”  So then, how does a Director and a Cast make this often mocked mindset seem fresh and meaningful?  Surround it with sound and fury. Continue reading →

The Perfect Pull of Gravity

GRAVITY's stunning opening sucks you in.

GRAVITY’s stunning opening sucks you in.

In our era of instant interconnectedness, ADD and immediate gratification, Alfonso Cuaron’s bold new film, Gravity, demands viewers to Watch…and Listen.

The film opens with a spectacular continuous long shot of planet Earth from outer space.  Slowly we begin to hear the static-laden chatter of astronauts and mission control grow louder and clearer while the camera leisurely pans in closer and closer to those working outside of a shuttle docked at the Hubble Space telescope.  First-time space traveler, Dr. Ryan Stone (Sandra Bullock) is installing a new scanning device to give NASA a better way to watch the skies in deep space.  Longtime astral cowboy Matt Kowalski (George Clooney) is out for a “Sunday drive” around the shuttle and telescope overseeing things while telling tales and keeping things light with mission control.  But then a frantic warning comes from Houston.  Stay calm.  Get back inside.  The Russians have taken out one of their own satellites.  The debris is traveling high above the globe at breakneck speed slamming into other satellites and anything in its way causing an avalanche of deadly metal to come hurtling right towards our dear crew.  Suddenly, in the vast distance of blackness above a blue and white sphere, the debris is coming into view.

The next ninety minutes become an epic cosmic ballet of white-knuckle suspense, eye-popping visuals and ensorcell acting.  Shot in 3D, the photography of Emmaneul Lubezki (who previously luxuriated in the magic of the cosmos in Malick’s The Tree of Life) is wholly immersive under Cuaron’s self-assured direction.  Cuaron spins his Oscar-winning mega stars through the calamities like a choreographer or puppeteer without strings.  There’s not a single moment in the film’s airtight run time where the director isn’t in complete control.  Continue reading →

Life in the Key of Malick in To the Wonder

To the Wonder 1

I could’ve done without the “the” in Terrence Malick’s latest cinematic symphony To the Wonder.

To wonder…

…that is what Malick’s life as an artist has been all about. To wonder…what it’s like to kill for the heck of it (Badlands)…to love when life is like a shaft of wheat blowing in the wind (Days of Heaven)….to wonder what it’s like to kill someone and mean it, to live
and love in war (The Thin Red Line)…to wonder what it was like to discover a new land, a new love, a new way of life (The New World)…to wonder about the beginning and end of time and the loss of a loved one (The Tree of Life).

To the Wonder is a meditation on loneliness.

Continue reading →

Memory and Magic in Terrence Malick’s The Tree of Life

Like an Andrew Wyeth painting come to life, Malick's obsession with open doors and windows conjures myth and memories.

Nature is a cruel and unforgiving mistress.
 
Over time, man has conjured God to tame her and give reason and order to the random chaos.
 
In present day, a man named Jack (Sean Penn) wanders listlessly through a cold, sterile metropolis where success is measured by wealth and excess.  On the anniversary of his brother’s death, a call to his father triggers an ocean of memories to come rushing over him.  Distracted, he daydreams and wonders about the meaning of life and why his brother had to be taken from him.  Was it because of the bad things he did as a child?  Was it a failure on the part of his parents?  Is it because his God is a mysterious and unknowable power that snuffs out life as easily as it gives it away?  Is this why he has become so misguided and empty today?  Jack imagines his childhood bookended by the beginning and end of time, where writer/director Terrence Malick’s meta-narrative provides a linear mirror image to Weerasethakul’s cosmic cycling from Uncle Boonmee Who Can Recall His Past Lives.  Memories and dreams fuel both films, but The Tree of Life cuts through time like a knife. Continue reading →