Flick of the Day: Badlands

One of cinema's true auteur's, Terrence Malick has directed 5 features in nearly 40 years as film-maker with a 20 year hiatus between his second film Days of Heaven in 1978 and 1998's WW2 epic The Thin Red Line for good measure. His work has a tendency toward emphasising the stark beauty of the natural world over the flawed nature of human beings and sparse dialogue. Today's flick of the day is his remarkably self assured début Badlands, based loosely on the 1958 murder spree of Charles Starkweather.

Badlands

Narrated by Holly, played by a very young Sissy Spacek, a young girl who lives with her violent and overbearing father in small town America in the 1950s. One day she meets and ultimately falls in love with rebellious loner Kit, played by the always superb Martin Sheen. Her father, played by Warren Oates perhaps one of the terminally underrated actors of his generation, attempts to drive them apart so in a cold manner Kit shoots him and together the pair hit the road. As they cross the empty plains of the Dakota's, Holly narrates their story like some poetic love story while Kit leaves bodies in his wake everywhere they go. Holly's flowery narration is in stark contrast to the murderous Kit and the beautiful visuals of the American midwest. Eventually their murderous actions lead to a fitting denouement.

While the actions of Kit and Holly are dealt with in a casual manner, Malick is careful never to glamorise them or their predicament but there is no moral judgement. There is also no sensationalism which is something many directors would surely have surrendered themselves to. If anything the film is low-key in dealing with its murderous pair. Malick offers no explanation for their actions and it is tempting to believe from Sheen's bravura performance that it is out of boredom and adolescent ennui as anything else. 

Along with Malick's fantastic visual style, the real star of the film is Martin Sheen. His film is perfectly measured, capturing the studied attempt at James Dean rebellious cool that is Kit. Kit is so busy trying to look cool that he doesn't seem to have time to feel emotions like a normal being. Indeed his cold demeanour is chilling in its way just because of its banality and very much a counterpoint to the girlish naivety of Spacek's Holly. 

Badlands is Malick's best film perhaps because it manages to catch the right balance between the quiet beauty of his visual impulses and narrative tedium, something which could not be said for 2005's The New World, perhaps the dullest couple of hours I have spent in front of a screen. Made for less than $500,000 in 1973 after Malick had spent one year at film school it stands out today for its style, performances and elegiac beauty and as such is one of the defining films of its generation. 

Flick of The Day: A Dangerous Method

Canadian director David Cronenberg has long been a filmmaker who has challenged his audience with a body of work that spans the bizarre (The Fly), the violent (A History of Violence, Eastern Promises) and the controversial (Crash). Adapting a play which details the relationship between the father and son of psychoanalysis then would seem long an odd choice for him. However continuing his fruitful relationship with Viggo Mortensen proves to be a wise move. Today's flick of the day is A Dangerous Method.

A Dangerous Method

Michael Fassbender stars as the brilliant but deeply self involved Carl Jung and gives another quality performance  in a year full of them. The film opens in 1904 as Jung is developing the theories of his colleague Sigmund Freud into a new method for treating patients by practising on the damaged and obsessive Sabina, a career best performance from Keira Knightley. As he begins to cure Sabina of her psychosis, their relationship deepens to the detriment of his friendship with his mentor Freud played by the always excellent Viggo Mortensen. Crossing the line between close care and taking advantage of his patient, Jung loses focus on what he is supposed to be doing for his own ends. Into this maelstrom of emotion steps the equally troubled Otto Gross played by Vincent Cassel in a measure performance..

As noted at first glance this does not seem an obvious project for Cronenberg's talents however once viewed it becomes apparent it is a perfect match. Concentrating on the dawn of sexual dysfunction diagnosis, he is on familiar territory as he documents its effect on the relationships of those involved. All of the leads giver excellent performances with Knightley and Fassbender a particular highlight. Fassbender manages to make an engaging character out of Jung who initially appears too self absorbed to be interesting.

Carl Jung: Sometimes you have to do something unforgivable... just to be able to go on living.

Knightley shows hitherto unknown depth as Sabina, engaging her whole body in a performance which is terrifyingly good and captures the bizarre sexual impulses perfectly. The sex scenes are not filmed for gratuity but are rather dark joyless affairs which tell more about the characters then you might imagine.

Cronenberg has actually created quite a beautiful movie, the sun dappled shots of Vienna and Geneva are a joy to behold while the turn of the century style and architecture are captured with aplomb. This allegiance to the details of what was a very interesting period in time help to keep the viewer interested while this cast of inward looking characters play out their neuroses. It becomes apparent that Jung and Freud have as many hangups as their patients.

This is period drama of the highest order combined with an interesting examination of sexual dysfunction and a n another fine film from Cronenberg. An entertaining script is given full voice by a superb cast. All in all a fine literate drama worthy of your interest.

Flick of The Day: Take Shelter

The old Hollywood adage goes that the best way to win an Oscar is to make a film about somebody with a disability or illness. It is indeed a well forged path to fame and fortune though it has to be said rarely gave these films dealt with something like mental illness in a realistic and grown up manner. As enjoyable as films like A Beautiful Mind and Shine were, there was a real lack of authenticity in their portrayal of the difficulties mental illness causes. It is a pleasure then to see a film that is written  in an authoritative manner with a deeply sympathetic portrayal of a man pushed to the edge by his mind. Today's flick of the day is Take Shelter.

Take Shelter

Michael Shannon is Curtis LaForche, a hard working family man from rural Ohio. He lives a typically banal existence with his wife and young deaf daughter in a small house on the outskirts of town. Curtis works for a gravel company and his life would be otherwise unremarkable until one day he begins to suffer increasingly terrifying dreams. These portents of doom take the form of a huge storm and his various friends, family and even his dog attacking him. The visions gradually become apocalyptic in nature as the skies rain oil and black birds fill the sky. Curtis seeks  help from his local doctor while keeping it from his wife and we learn that as a child his mother was hospitalised for schizophrenia. His nightmares comes to dominate his life and he becomes obsessed with extending and provisioning the storm shelter in his back garden. Gradually his life breaks down and we begin to question whether Curtis is himself suffering from schizophrenia or indeed a prophet of doom. Will the storm come?

Shannon has quietly built a career over the past few years combining scene stealing turns in films like Revolutionary Road and  Bad Lieutenant: Port of Call New Orleans with small roles in blockbusters and recently as Agent Nelson Van Alden in HBO's Boardwalk Empire. He is gradually becoming one of the great character actors working today and his role as the troubled Curtis is his best work to date. He brings a taciturn dignity to Curtis which makes his gradual disintegration all the more compelling and heartbreaking. Fundamentally a good man, you begin to realise that there are only two outcomes to his story. Either he is suffering from debilitating mental illness of the apocalypse really is coming. We are not headed for a happy ending obviously. It is the desperation in his eyes that means you can't look away, he doesn't want to be ill and yet doesn't want to abandon his family for the safety of an institution like his mother did. 

While Shannon carries the film as the central character, plaudits must also go to Jessica Chastain for her realistic portrayal of his loving wife. As Curtis crumbles she tries to hold things together and to get Curtis help. There is a real depth and humanity to her portrayal.

Curtis: You think I'm crazy? Well, listen up, there's a storm coming like nothing you've ever seen, and not a one of you is prepared for it

Jeff Nichols direction brings the whole story together by creating a sense of impending doom as the film closes in on you. His execution of the nightmarish sequences is worthy of some praise as they are genuinely unsettling. As the film moves toward its dread filled denouement, Nichols ratchets up the tension and the storm clouds gather on the horizon.

This ending when it comes  is ambiguous at best though I found it a satisfying finale given what has come before. Without giving anything away, it would be fair to say that the ending is significant for leaving us, the audience to draw our own conclusions. Given the abrupt cuts from dreams to reality previously, this is an unusual move but a good one. Overall a fine film and one sure to be a winner at awards season if there is any justice. Thought provoking and well acted throughout, this is the perfect antidote to the asinine fare so often served up by American cinema.

Flick of The Day: Drive

Canadian actor Ryan Gosling has carved out a niche for himself over the past few years as the American Indie scene's go-to guy for quirky leading roles, with star making turns in Half Nelson, Lars & The Real Girl and Blue Valentine. His performance as an inner-city teacher struggling with drug addiction in Half Nelson earned him an Oscar nomination. I was then very much looking forward to his latest film, Drive which is today's flick of the day.

Drive

The story such as it is revolves around the unnamed Gosling as a Hollywood stunt driver and mechanic who moonlights as getaway driver for hire. He is the quite taciturn type that might have been played by Steve McQueen back in the 1970's. Before you let your mind wander off there to McQueen's classic car chase filled Bullit and wonder about similarities, let me disabuse you of any such notions immediately. This is not that kind of film. Gosling's Driver works for shifty looking Shannon, a crippled businessman with a heart of gold and an eye for it too, played by the seemingly ubiquitous Bryan Cranston. All is going well and profitably until Driver meets and falls for his new neighbour Irene and her son. Irene is a woman with a husband about to get out of jail, ably played by Carey Mulligan. Of course her husband soon returns and all is not well. For reasons known only to himself and the screenwriter, Driver decides to help out this down on his luck husband by acting as his getaway driver. Inevitably things go awry, and Driver falls awry of local hoods Nino and Bernie played by the always reliable Ron Perlman and Albert Brooks. Along the way is a blink and you won't miss her departure cameo by the lovely Christina Hendricks of Mad Men fame.

This is where the film begins to go badly awry. It starts well with a great opening sequence, some classic synth tunes and 80's style credits and you could be forgiven for thinking you are in for a treat. It is when Driver begins to get himself in trouble that the film falters. Out of nowhere, the up to this point peaceable Driver becomes mindlessly violent and the director, Nicholas Winding Refn seems to revel in showing it to us in all the gory detail. A head is kicked to a bloody pulp, another explodes in a shotgun blast. Driver is not the only violent man, Bernie played against type by Brooks gets in on the act, with wrists and throats slashed and arterial spray the normal result of almost any confrontation. It is this revelling in the gore which is so misplaced. The director is so focused on showing us the physical effects of the violence that it never shows us any emotion. Think of cinema violence back in the days of the Hays Code when it couldn't be shown directly, yet we still saw its effects and the anguish on a characters face. I have no problem with screen violence for it  represents the world we live in yet I see no point in it being the sole focus of a film to the detriment of the story. Early works from Tarantino such as Reservoir Dogs were violent but it always felt necessary and human. If the slow agonising death of Tim Roth's Mr Orange thought us anything it is that sometimes death is slow and painful but it was never done gratuitously.

Apart from this, its pretty standard B-Movie stuff. The kind of thing you might have caught on a lazy Saturday afternoon back in the day. It is a strikingly shot film with some gorgeous shots of a night time Los Angeles and there is an excellent score to carry the piece through. At times, it was the only thing keeping me interested.

Driver: If I drive for you, you give me a time and a place. I give you a five-minute window, anything happens in that five minutes and I'm yours no matter what. I don't sit in while you're running it down; I don't carry a gun... I drive.

Gosling carries his role well but he isn't given a whole lot to work with, dialogue wise he says very little over the course of the film and it is to his credit that he manages to convey emotion and mood silently. His relationship with Irene's son is compelling. Overall the cast are excellent, its just not as good  a film as it thinks it is and that's a shame.

My only other criticism would be that for a film which promises so much in terms of its title and smashing trailer, it delivers precious little in terms of car chases or action driving. Oh sure, Driver drives about the city looking stern but we never really see him take on all these getaway jobs.

All in all, this is a slick film with a lot of style from the opening credits to the final shot and Refn is a director with an eye for framing a shot, but there is no real heart here. I left the cinema disappointed but there you go, such is life. Draw your own conclusions.