This review is intended for people 18 years and older.
Curt Wild, bathed in glitter, stripped of his shirt, liquid running down his hairless chest, touches himself on stage, liberates his body from his tight leather pants, and Brian Slade falls in love. Wild sends Slade’s world spinning. The glam rockers didn’t just create their music, they lived it.
Velvet Goldmine, Director Todd Haynes's on-screen tribute to the death of glam rock, is loosely based on the experiences and personalities of musicians David Bowie and Iggy Pop, with Citizen Kane undertones and Oscar Wilde references. Glam rock lasted less than half a decade of music history, bridging the collapse of the Bob Dylan engrossed hippies and the revolution of punk.
The film opens in the childhood of Oscar Wilde. Before leaping a century ahead to a music-crazed London, the movie shows an eight-year-old Wilde announcing his aspirations: “I want to be a pop idol.” He never said this, but Bowie did.
The final concert of Brian Slade’s Maxwell Demon alter ego (a parallel to Bowie’s Ziggy Stardust persona) is where the story begins. Slade (a long-haired hippie turned glamorous Jonathan Rhys Meyers) fakes his onstage death, and journalist Arthur Stuart (a convincing Christian Bale) travels back to his glam-obsessed youth to piece together the events that led to his “death”.
The central focus of the film is the relationship between bisexual rockers Slade and Wild. Together they give birth to glam and live in their own world during a time of sexual experimentation, where homosexuality is not only accepted but embraced. This is something Haynes, who is openly gay, can appreciate.
Velvet Goldmine is a visually complex film, driven by an ornate costume design, and colors that scream for attention. “A slut in fancy clothes” may be the best description of Mr. Meyers. His painted-blue body embraces the floor like a worm. His glitter eye makeup, sequenced glitter belly shirts, tight leather pants, green alligator coats and platform boots are enough to send any teen, including Bale, into delirium. It’s a beautiful movie. Although the script and the acting are often exaggerated to the extreme, Haynes’s film is nevertheless an accurate depiction of the glam lifestyle and the ritzy dream of musicians like Brian Slade and Curt Wild. This film can sum up glam rock in costume alone.
Much of the acting is overshadowed by the flashy musical numbers and glitter-infested wardrobes. Toni Collette, who plays Mandy Slade, is the only actor to reach her full potential, and saves the script from being a complete failure. She arrives on screen as Slade’s objection of affection. Ten years later, as Stuart uncovers the mystery of Brian Slade demise, he tracks her down and finds her in a bar doing a one-woman act (a parallel to Citizen Kane) swinging between an artificial British accent and her natural American accent—a testimony to what she’s suffered. While glam essentially ruined rockers like Wild and Slade, Ms. Collette’s convincing performance shows the real damage that was done.
Velvet Goldmine is a piece of eye candy that never loses its flavor, but the music is half the equation. The film is about glam rock, and the music reflects this style. Although Bowie withheld the rights to his songs, similarities exist, and music supervisor Randall Poster collaborated with a group of musicians (including Radiohead’s Thom Yorke) who experienced glam to make the music true to the time. The visuals make it difficult to pay attention to the vocals, but Mr. Meyers and Mr. McGregor aren’t half bad—distractions avoided.
The era of glam rock as a musical phenomenon may be long gone, but glam isn’t dead. Haynes just brought glam to the cinema, but it’s racing back into the covers of Rolling Stone and Vogue, MTV and beyond. It’s Lady Gaga in concert. Glam was about the message behind the music as much as it was about physical appearances: that anyone can invent himself, and such contrivance has liberated generations of outcasts. That you could dress up and become whomever you want is what Haynes succeeds in translating into film.
Monday, January 25, 2010
Tuesday, January 19, 2010
NYTimes Defense: The Book of Eli
I'll be defending a review of The Book of Eli, which you can find here.
The writer of this review is the co-chief film critic for the New York Times since 2004, Manohla Dargis. She was the chief film critic for the Los Angeles Times and the LA Weekly.
She begins with a description of the film’s setting and a detailed account of Denzel Washington’s character. From the start the reader develops a mental image of the dead environment and the main character.
She provides context for the first time: this is the directors’ first film since 2001. She analyzes the film’s cinematography, explaining why certain parts are effective, and in great detail. Her use of examples legitimizes her opinion.
She describes visual aspects of the film. She shows her knowledge of the film’s technology; it was shot in high definition digital. She provides context again; she compares and contrasts the film with other movie genres and other directors.
The plot description arrives five paragraphs in and by this time the reader has enough context to appreciate her description.
The “but” appears when she transitions into acting. She explains where and why the movie went wrong. It’s appropriate in this paragraph because she believes it’s the script’s clichés and the timing of the characters’ arrivals, as well as the unrealistic costume design and polished faces.
She ends the review on a high note, with an overall light and playful mood. The movie succeeds because the plot is engaging, and the bits of humor are certainly appropriate.
The writer of this review is the co-chief film critic for the New York Times since 2004, Manohla Dargis. She was the chief film critic for the Los Angeles Times and the LA Weekly.
She begins with a description of the film’s setting and a detailed account of Denzel Washington’s character. From the start the reader develops a mental image of the dead environment and the main character.
She provides context for the first time: this is the directors’ first film since 2001. She analyzes the film’s cinematography, explaining why certain parts are effective, and in great detail. Her use of examples legitimizes her opinion.
She describes visual aspects of the film. She shows her knowledge of the film’s technology; it was shot in high definition digital. She provides context again; she compares and contrasts the film with other movie genres and other directors.
The plot description arrives five paragraphs in and by this time the reader has enough context to appreciate her description.
The “but” appears when she transitions into acting. She explains where and why the movie went wrong. It’s appropriate in this paragraph because she believes it’s the script’s clichés and the timing of the characters’ arrivals, as well as the unrealistic costume design and polished faces.
She ends the review on a high note, with an overall light and playful mood. The movie succeeds because the plot is engaging, and the bits of humor are certainly appropriate.
No complaints about your methods, Mr. Holmes (rewrite)
Sorry Sherlock fans, you won’t find the tweeds here.
Director Guy Ritchie wanted to introduce a Sherlock Holmes that has never been seen before—and that’s exactly what he did. Ritchie presents a slightly more graphic and fast-paced rendition of the detective’s story, but he captures the spirit of Sherlock Holmes with a touch of spice, even without the deerstalker hat and magnifying glass.
Traditionalists may argue the essence of Holmes, played by Robert Downey Jr., is lost in Ritchie’s script with Mr. Downey’s hyper-twitchy performance and eccentric persona. There’s no question Ritchie bulked up the physicality of the original script and explored the characters in depth, but the dangerous scenarios and superhuman traits bestowed upon the actors give the film its edge and energy.
Mark Strong plays Lord Blackwood who, despite his execution at the start of the film, rises from his grave to resume his killing spree and carry on his evil plan to propel an ancient secret society to the head of the universe. Holmes and Watson, played by Jude Law, are out to stop him before he takes over the world. The film sets the stage for a sequel that is sure to star Holmes’s archenemy and criminal mastermind, Professor Moriarity.
Rachel McAdams plays Irene Adler, a cold-blooded criminal and seductress who takes on Sherlock Holmes—and isn’t afraid to leave him bared naked in handcuffs. Beauty and brains, too.
Mr. Law plays Holmes’s pipe-smoking sidekick, but he’s far from Holmes’s inferior. Mr. Downey may be the leading man, but the film wouldn’t be quite as captivating without Mr. Law’s polished and professional edge to harmonize Holmes’s maniacal behavior. He read all the novels, and did his part in liberating a new flavor of Watson that Ritchie aspired to uncover as well.
According to Ritchie, there was so much unexplored in regard to the spirit of the characters and the plot. Ritchie’s script combined with the acting on screen created characters true to Sir Arthur Conan Doyle’s but brought them into modern cinema, where they were meant to arrive sooner or later.
Mr. Downey and Mr. Law compliment each other perfectly, despite gossip column buzz of a homoerotic subtext. Holmes exposes his jealousy at Watson’s soon-to-be engagement with Mary Morstan (Kelly Reilly), and Watson can’t seem to resist the temptation to fight the bad guys with his best friend. Their impassioned, affectionate relationship and quick-witted dialogue is one of the film’s main sources of entertainment.
Ms. Adams, with her elegant pink gown and luscious red lips, adds a refreshing splash of color to an otherwise bleak and gray setting. It took a lot to become Holmes’s main squeeze, including a few crushed bones while in her corsets, said the actress in an interview with the Chicago Sun-Times. Eight-time Academy Award nominee for best costume design Jenny Beavan admits in an interview with Vanity Fair that she took liberties and pushed the colors, especially with Irene Adler. But Mr. Law’s crisp tailoring and Holmes’s vintage attire suit the actors well, and the costumes are certainly within the time period.
Ritchie had his first taste of the sleuth’s stories in boarding school by the time he was six years old, when he listened to the narrations in his dorm room. He’s come a long way since then, and he’s not done with Holmes yet.
LINKS:
Jenny Beavan on costume design.
Chicago Sun-Times interview with Rachel McAdams
Guy Ritchie on Sherlock Holmes
Director Guy Ritchie wanted to introduce a Sherlock Holmes that has never been seen before—and that’s exactly what he did. Ritchie presents a slightly more graphic and fast-paced rendition of the detective’s story, but he captures the spirit of Sherlock Holmes with a touch of spice, even without the deerstalker hat and magnifying glass.
Traditionalists may argue the essence of Holmes, played by Robert Downey Jr., is lost in Ritchie’s script with Mr. Downey’s hyper-twitchy performance and eccentric persona. There’s no question Ritchie bulked up the physicality of the original script and explored the characters in depth, but the dangerous scenarios and superhuman traits bestowed upon the actors give the film its edge and energy.
Mark Strong plays Lord Blackwood who, despite his execution at the start of the film, rises from his grave to resume his killing spree and carry on his evil plan to propel an ancient secret society to the head of the universe. Holmes and Watson, played by Jude Law, are out to stop him before he takes over the world. The film sets the stage for a sequel that is sure to star Holmes’s archenemy and criminal mastermind, Professor Moriarity.
Rachel McAdams plays Irene Adler, a cold-blooded criminal and seductress who takes on Sherlock Holmes—and isn’t afraid to leave him bared naked in handcuffs. Beauty and brains, too.
Mr. Law plays Holmes’s pipe-smoking sidekick, but he’s far from Holmes’s inferior. Mr. Downey may be the leading man, but the film wouldn’t be quite as captivating without Mr. Law’s polished and professional edge to harmonize Holmes’s maniacal behavior. He read all the novels, and did his part in liberating a new flavor of Watson that Ritchie aspired to uncover as well.
According to Ritchie, there was so much unexplored in regard to the spirit of the characters and the plot. Ritchie’s script combined with the acting on screen created characters true to Sir Arthur Conan Doyle’s but brought them into modern cinema, where they were meant to arrive sooner or later.
Mr. Downey and Mr. Law compliment each other perfectly, despite gossip column buzz of a homoerotic subtext. Holmes exposes his jealousy at Watson’s soon-to-be engagement with Mary Morstan (Kelly Reilly), and Watson can’t seem to resist the temptation to fight the bad guys with his best friend. Their impassioned, affectionate relationship and quick-witted dialogue is one of the film’s main sources of entertainment.
Ms. Adams, with her elegant pink gown and luscious red lips, adds a refreshing splash of color to an otherwise bleak and gray setting. It took a lot to become Holmes’s main squeeze, including a few crushed bones while in her corsets, said the actress in an interview with the Chicago Sun-Times. Eight-time Academy Award nominee for best costume design Jenny Beavan admits in an interview with Vanity Fair that she took liberties and pushed the colors, especially with Irene Adler. But Mr. Law’s crisp tailoring and Holmes’s vintage attire suit the actors well, and the costumes are certainly within the time period.
Ritchie had his first taste of the sleuth’s stories in boarding school by the time he was six years old, when he listened to the narrations in his dorm room. He’s come a long way since then, and he’s not done with Holmes yet.
LINKS:
Jenny Beavan on costume design.
Chicago Sun-Times interview with Rachel McAdams
Guy Ritchie on Sherlock Holmes
Monday, January 11, 2010
No complaints about your methods here, Mr. Holmes
Arthur Conan Doyle’s whimsical sleuth, Sherlock Holmes (Robert Downey Jr.), returns to the public as charming as ever, and nothing can outsmart our favorite detective, not even practical magic. Director Guy Ritchie reinvents Holmes in his film, set in Victorian London, and it’s nothing short of “dangerously alluring.” Nothing escapes Holmes in this film that combines elements of mystery, action, adventure, drama, and of course, crime, with a touch of romance in the mix.
Holmes and Dr. Watson (Jude Law), Holmes’s “loyal dog”, charm the silver screen with their impassioned yet affectionate relationship. This time they’re out to catch Lord Blackwood (Mark Strong), the bad guy who is executed at the start of the film but rises from the grave to resume his killing spree and carry on his evil plan to propel an ancient secret society to the head of the universe. His high hopes seem somewhat (or completely) impossible to achieve; after all, what villain actually ends up taking over the world? Far-fetched and fascinating simultaneously. And then there is Irene Adler (Rachel McAdams), the femme fatale who is too beautiful to be a cold-blooded criminal and menacing temptress, but somehow you can’t help but fall in love just like Holmes has. Or has he? No sense in worrying, there is sure to be a sequel starring Holmes’s archenemy and criminal mastermind, Professor Moriarity.
Victorian London is Mr. Downey’s natural habitat; perhaps he was Sherlock Holmes in a previous life. He demonstrates the witticism and brilliance of Sir Arthur Conan Doyle’s original character, and nothing is lost in translation. How is it that he can strategically plan in his head every move he will make to pummel his opponent in a fighting ring, covered in blood and sweat, restless, and execute it perfectly within seconds? Nothing is more dangerous than a scientific mind when you’re Sherlock Holmes. After the opening scene Holmes is all washed up, stuck in 221B Baker Street with nothing but his violin, and apparently pictures of Ms. Adler and a stalker file. However, he cleans up nicely, just in time to meet Watson’s fiancée, Mary, and show his jealous side. He really is an all around normal guy on the inside. If nothing else, this is the Holmes we can relate to.
One case Holmes fails to solve is the case of the missing deerstalker hat and pipe; the literary Holmes’s signature look. This is surprising granted the costume designer is eight-time Academy Award nominee for best costume design, Jenny Beavan. However, the costumes are deeply rooted in the time period, and they suit the actors well. Ms. Adams’s seductive dress and luscious red lips at the start of the film add a refreshing splash of color to an otherwise bleak and gray setting. While Beavan admits in an interview with Vanity Fair that she took liberties and pushed the colors, they are absolutely within the time period. Watson’s crisp tailoring and Holmes’s vintage attire are the least of our worries when Lord Blackwood is blowing up wooden barrels trying to kill our main characters. The clothes catch on fire anyway. All is well just as long as our favorite sleuth is stayin’ alive.
Holmes and Dr. Watson (Jude Law), Holmes’s “loyal dog”, charm the silver screen with their impassioned yet affectionate relationship. This time they’re out to catch Lord Blackwood (Mark Strong), the bad guy who is executed at the start of the film but rises from the grave to resume his killing spree and carry on his evil plan to propel an ancient secret society to the head of the universe. His high hopes seem somewhat (or completely) impossible to achieve; after all, what villain actually ends up taking over the world? Far-fetched and fascinating simultaneously. And then there is Irene Adler (Rachel McAdams), the femme fatale who is too beautiful to be a cold-blooded criminal and menacing temptress, but somehow you can’t help but fall in love just like Holmes has. Or has he? No sense in worrying, there is sure to be a sequel starring Holmes’s archenemy and criminal mastermind, Professor Moriarity.
Victorian London is Mr. Downey’s natural habitat; perhaps he was Sherlock Holmes in a previous life. He demonstrates the witticism and brilliance of Sir Arthur Conan Doyle’s original character, and nothing is lost in translation. How is it that he can strategically plan in his head every move he will make to pummel his opponent in a fighting ring, covered in blood and sweat, restless, and execute it perfectly within seconds? Nothing is more dangerous than a scientific mind when you’re Sherlock Holmes. After the opening scene Holmes is all washed up, stuck in 221B Baker Street with nothing but his violin, and apparently pictures of Ms. Adler and a stalker file. However, he cleans up nicely, just in time to meet Watson’s fiancée, Mary, and show his jealous side. He really is an all around normal guy on the inside. If nothing else, this is the Holmes we can relate to.
One case Holmes fails to solve is the case of the missing deerstalker hat and pipe; the literary Holmes’s signature look. This is surprising granted the costume designer is eight-time Academy Award nominee for best costume design, Jenny Beavan. However, the costumes are deeply rooted in the time period, and they suit the actors well. Ms. Adams’s seductive dress and luscious red lips at the start of the film add a refreshing splash of color to an otherwise bleak and gray setting. While Beavan admits in an interview with Vanity Fair that she took liberties and pushed the colors, they are absolutely within the time period. Watson’s crisp tailoring and Holmes’s vintage attire are the least of our worries when Lord Blackwood is blowing up wooden barrels trying to kill our main characters. The clothes catch on fire anyway. All is well just as long as our favorite sleuth is stayin’ alive.
Subscribe to:
Posts (Atom)
