Manhood and Hawke

This is a review of Boyhood (2014)

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
(Click here to go directly to the Festival web-site)

17 August

This is a review of Boyhood (2014)

Boyhood (2014) at @CamPicturehouse, which some say is a one-trick pony - but how high will the pony kick, and would one watch again... ?
— THE AGENT APSLEY (@THEAGENTAPSLEY) August 16, 2014

One does not watch such a film for breathtaking cinematographic insights (though there are some nice outdoor locations, not least at the very end), but for character development, set somewhere recognizably real : in its own terms, exploring Mason Evans, Snr (Ethan Hawke), through the story of Mason Evans, Jnr (Ellar Coltrane), it does not disappoint at all, and there are three moments where one has a lump in one’s throat at how a character is being appreciated by another.

That amongst significant moments of behaviour where people have lost their way, and got into blaming or being jealous of each other, which is the contrast in life. At the heart of all this, though – for all that it is talked about – it is not the most remarkable thing about the film that it was shot, for three or four days per year, over the course of twelve years, although it does allow one to see both Lorelei Linklater (his daughter as Mason’s sister Sam(antha)) and Coltrane age, and their faces and features mature. No, it is principally that of the closeness between father and son, and how the former allows the latter to see things from an older perspective.

At one moment, towards the end, younger Mason asks what the point of it all is, and receives the totally honest answer that no one knows and everyone is pretending. For those who have seen Sam Rockwell in The Way Way Back (2013), he is the humorous and intelligent father / mentor that we all identify as being enriching, and, at the best of times, there is that quality in Hawke’s remarkably penetrating acting.

So much so that one almost feels that Linklater has to introduce a distance, by pausing when Hawke meets Charlie Sexton (credited as Jimmy ?*) and they have a child, otherwise Hawke will steal the film.

Other things, such as the invidious position of a stepchild, are probably better addressed by Steve Carell in The Way Way Back than here by Linklater, but the point of it all is the same : that of holding one’s children firm when they need it so that they can have the confidence and belief that they deserve. Patricia Arquette’s* courage in taking her family out of an unsuitable situation (and the strength that her friend gives her) remind of a little 30-minute gem from Cambridge Film Festival 2013 (#CamFF), Avant Que De Tout Perdre (Just Before Losing Everything) (2013)…

Compared with the more fly-away Hawke’s, Arquette’s character roots herself in responsibility, and feels the challenges of life in providing for Sam and Mason. These words could almost have been written for one scene :

She'll take the painting in the hallway
The one she did in Jr. High

Words : Matthew Charles Rollings / Doug Crider

Suzy Bogguss seems to have made this meditative song, ‘Letting Go’, her own, and it has an obvious resonance with the unsettling feeling of impermanence and of relentless change, which sometimes feels too much for Arquette as a mother. Where we leave Mason, we feel that he will make mistakes, but that he has kept a regard for his parents and their nurture, and we are content for him to take the course and not to witness it further.

Boyhood (2014) is by no means a one-trick pony, @CamPicturehouse - knowing the trick doesn't matter, and it could easily be watched again...
— THE AGENT APSLEY (@THEAGENTAPSLEY) August 17, 2014

Linklater’s desire to make this film with an ageing cast is not, except as a feature film, a new departure, because the well-known Granada Television series Up (which has been broadcast on ITV and the BBC) has covered 49 years in following fourteen British children since the age of seven (in 1964), whereas Mason is six when we first see the shot of him that is used in the film’s promotion. (He may also already have known that he would make a follow-up to Before Sunrise with the older Julie Delpy and, again, Hawke.)

Just two minor, minor things that do not work : when Arquette is remarried, and we cut to a side-shot of her Compliance Officer husband, his face is making the wrong expression for the serious subject that he is addressing, and then we cut back. That and the father-and-son exchange about other Star Wars films, which felt very placed and stilted.

But with Hawke duetting with the harmonizing Sexton (on Hawke’s own songs), and the other ways that music is organic to the feel, one can keep all the tracks in Inside Llewyn Davis (2013) – this is the soundtrack to buy.


Click here for a PS to Mr Linklater - some of the things that made actual boyhood so difficult, but which you will find no mention of in this film






End-notes

* IMDb, as it sometimes can, lets down massively by not providing the names of the characters : it lists Arquette as ‘Mom’ !


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Empty vessels

This is a review of The Way Way Back (2013)

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)

5 September

This is a review of The Way Way Back (2013)

* Contains moderate spoilering, and a bit of swearing *

I defy anyone to dislike Sam Rockwell as Owen in The Way Way Back (2013)*. (I probably should not do too much defying, or I might end up like the film's odious Trent (Steve Carell), telling people who they are or what they think.)


As I Tweeted :

Anyone who ever had a pivotally inspirational figure in his / her life can relate to #TheWayWayBack: I found Sam Rockwell totally enjoyable.
— THE AGENT APSLEY (@THEAGENTAPSLEY) September 4, 2013

The odious Trent, possibly unconsciously, seems set on crushing Duncan, nicely brought about by Liam James - he is the sort of man that he is probably a bit like Reggie Perrin's CJ, in that he did not get where he is to-day without making bogus and manipulatively one-sided 'deals' with people.

Thankfully, the excruciating embarrassment of the characters sizing each other up at the Riptide, the holiday home from Trent's previous relationship, diminishes as Owen and Water Whiz (apparently a real place) hove into view. A little bit like Steve Martin being energized, but largely his own man, Rockwell is the dad whom Duncan does not have / no longer has, as puerile Trent cannot resist grinding Duncan with.

The water-park becomes that sort of home-from-home that we know so well all the way to Alice and her adventures via Dorothy and Kansas / Oz and even into a recent Thai film that was in my top three from last year's Festival, Postcards from the Zoo (2012)** (let alone Midnight in Paris (2011)).

Yes, we root for Duncan, and laugh with him, even despite him, and Owen is no saint, but he is humane, comfortable with himself (most of the time), encouraging. No more than that needs be said - watch the film, relish a world beyond the cringeing hypocrisy of people pretending, and find the punctuation-mark !


End-notes

* With its silent punctuation.

** The zoo is a sort of Eden, but Water Wizz is more flawed, although caring and compassionate, taking in Duncan as he is.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

A banana with a twist : A Festival review of Hope Springs (2012)

This is a Festival review of Hope Springs (2012)

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)

30 September (revised 26 August 2023)

This is a Festival review of Hope Springs (2012)

If anyone had seen Woody Allen's film Celebrity (1998), the scene with a self-help sex manual, Meryl Streep and a banana in Hope Springs (2012) would remind them of where a hooker, allegedly demonstrating fellatio, ends up choking on her chosen fruit. (Ironic, as gagging is supposed to be one of the fears of Robin Simon (played by Judy Davis), which she is seeking to have allayed by seeking out the hooker's advice.)

The parallel between Kay, Streep's character, and Robin in seeking perfection, or, rather, the reason for it, is obvious enough, hence Kay on her knees in the cinema. And, in Robin's case, Lee (Kenneth Branagh) - her husband and the intended male beneficiary - is arguably, if not as cantankerous as Tommy Lee Jones is as Arnold, then scarcely more appreciative.

Arnold and Kay have gone to Maine, the fictional resort of Great Hope Springs (filming took place in Connecticut¹), because, essentially, he is a Reggie Perrin of a man, except that his routine doesn't even include kissing his wife when he leaves in the morning, and she wants him to be interested in her. None of this, although it obviously is a serious matter that couples grow into ignoring each other / taking the other for granted (or, at least, one within a couple, rightly or wrongly, may see it that way), is any more than a pretext for a romp :

We will see them in what is played as a therapy-session for couples, but it is just the backdrop for Kay to be girlish and want her man back, and for Arnold to be stroppy, admit that he fancies the female neighbour / other dimensions to sex, and, when the going gets tough - as it often enough does - take his soldiers away. Of course, we know where it's going to go, and that, for comedic effect, the sailing will not be plain (whatever unplain sailing is), and there will be mishaps - such as, as it turns out, the seduction in the cinema.

Steve Carell (Dr Bernie Feld) does a fairly good job of saying the sorts of things that therapists say and / or behaving as they do to redirect anger onto the clients. However, we know that some of it, or some of what has been said already, is not 'for real', because, when the woman with the corgis is revealed as an object of Arnold's suppressed desire, Kay doesn't react by saying anything, let alone slapping Arnold, whereas she is hardly, as we learn, a swinger, and has not so much as admitted to a fantasy about, say, other men in the shower (or to having been in the shower with other men). (Carol, the neighbour with the corgis, turns out to deliver a line with a highly deferred pay-back.) As to how things turn out, Scotland takes some credit when there seems to be a dark night ahead, because Annie Lennox, whose singing captures all the bad stuff in the words² of 'Why', helps exorcize it (some such).

In fact, as The Lennox's career is not lacking in interest to me (and as this is a film from the States), I asked David Frankel, the film's director and the guest afterwards in the Q&A at Cambridge Film Festival, how the song 'Why' had come to be used : he told us that it had been there all along at that point as a place-holder, and had ended up staying because nothing ever did take its place.

(If, as I believe that I recall, 'Why' is the song used, lines such as 'I may be viciously unkind' (and so on) actually delivered some elements that maybe the film itself had not (except by employing it), since one of the therapy-sessions with Dr Feld shows that there has been an issue of It takes two to tango in why separate bedrooms also became not having had sex since 22 September four years earlier.


End-notes

¹ A name that I have never understood.

² I must check this somewhere else, i.e. the album, but four people seem to be credited with writing these lyrics.


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