film

Review Catch-Up: Hail, Caesar!

Written and directed by Joel and Ethan Coen, “Hail, Caesar!” is a love letter to postwar Hollywood in the early 1950’s when big budget epics, westerns, and musicals ruled the cinematic land. Josh Brolin leads this stunning cast of Coen Bros frequent collaborators and newcomers alike as Eddie Mannix, the head of “Physical Production” of Capitol Pictures. As the fixer of the studio’s many issues Mannix corrals wayward stars, abates the rumor mill of gossip columnists, and generally solves any and all problems that occur- sometimes with charm, other times with a bit of muscle when need be. Between all of this, Mannix is caught between an offer for the easy life at Lockheed Martin and whether or not he should stay and wrangle the many personalities and problems of Capitol Pictures.

The main driving force of the film is the abduction of infamous actor Baird Whitlock (George Clooney) from the set of “Hail, Caesar!” a religious epic in the vein of “The Ten Commandments” or “Ben-Hur”. Once informed of the actor’s disappearance Mannix goes on the hunt for the lost star, but gets bogged down in internal studio affairs. Once contacted by the kidnappers, self-titled The Future, Mannix collects ransom money from the petty cash allotted by the studio and follows their orders until he can find the solution. Meanwhile other directors and crews must handle the consequences of Mannix’s decisions, like taking cowboy western star Hobie Doyle (Alden Ehrenreich) and putting him into the high-society drama “Merrily we dance” directed by Laurence Lorenz (Ralph Fiennes). What follows is easily the funniest scene of the film and a direct criticism of studios making huge moves like replacing stars just for favors to keep from worse studio secrets spilling out into the public. Hobie Doyle may be a world renowned movie star in westerns where he doesn’t have a whole lot of dialogue, but Laurence Lorenz is a stand in for the extremely precise thespian director that desires very specific line delivery. Pairing these two together, with Doyle’s thick southern accent and Lorenz soft speaking mannerisms that quickly boil over into confused agitation- was a genius comedic choice in my opinion.

In the midst of both the ‘Red Scare’ and the beginnings of the Cold War the real Hollywood of the early 1950’s was transitioning to meet the needs of this new era of paranoia and television. The Coen Brothers satirize this period with precise detail and pitch perfect comedic timing. The large studios still very much worked on the star system of the past and watching Capitol Pictures in the film work to garner attention by investing in as many westerns, musicals of synchronized swimming, and epics of religious nature is equally funny and fascinating. With the abundance of well known stars cast in the film, from Scarlett Johansson and Channing Tatum to Frances McDormand and Tilda Swinton (playing twin gossip columnists!) the film has a lot going for it simply on performances alone. The recreation of the early 1950’s pastel color palettes and huge set-pieces within the massive expanse of “studio city” is commendable in its own right as well! Roger Deakins again showcases his masterful use of lighting and camera movement as the frequent Coen cinematographer, and it’s easy to see why they collaborate as often as they have. The pairing between the three as writers, directors, and cinematographer is a cinematic dream team!

“Hail, Caesar!” was a lightweight affair when compared to other offerings from the Coens and everyone involved seems to have had a great deal of fun satirizing their industry’s golden age. As is often true with most Coen bros films, it may not be for everyone, but it is crafted by skilled people who are truly invested in the art form. Joel and Ethan Coen, and Roger Deakins, give a damn about the movies they choose to make, and this riff on the industry’s earlier era is full of winks, nods, and references to that time and the films that came out of the studio-orchestrated chaos. It is a pastiche of the gilded age of cinema crafted with great panache, and I definitely recommend giving it a watch!

Final Score: 10 Communist Writers and 1 Dolph Lundgren (seriously keep an eye out for him, easy to miss!)

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film

Review: Isle of Dogs

Written and directed by Wes Anderson, “Isle of Dogs” is a stop-motion animated film set in Megasaki City, a fictional Japanese city in the not so distant future, where a virus known as ‘Dog Flu‘ has devastated the pet populace and threatens to transfer to humans soon. In the face of this threat Mayor Kobayashi (Kunichi Nomura) declares an emergency order, exile all dogs to trash island. He begins with the public exile of his young nephew Atari’s (Koyu Rankin) dog/bodyguard Spots (Liev Schreiber). Six months later the decrepit isle is populated by every dog from Megasaki City and we focus on five particular pooches looking for food amongst the scraps, Chief (Bryan Cranston), Rex (Edward Norton), Duke (Jeff Goldblum), Boss (Bill Murray), and King (Bob Balaban). After a quick scrap over the available morsels with another gang of roving dogs they spot an incoming small plane that’s about to crash land. After they drag Atari from the wreckage and dub him, the little pilot, they figure out that he’s looking for his lost dog, Spots.

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This little film was a joy to watch. I already have a proclivity towards stop-motion animation, so the film had already piqued my interest- but I really did enjoy the story of “Isle of Dogs” as well. At the heart of the film the story is about friendship and doing the right thing, but there were darker shades of conspiracy and a more realized threat for all of the four-legged companions than I was expecting. I won’t get into spoiler territory, but the film was more clever than I had expected and that was a nice surprise. The stellar voice cast cannot be ignored either as each dog had a major name behind their voice and their stylized performances, written for each celebrity, fit their larger than life personas which only added depth to their characterization. There’s also the visual treat of the film as a whole, the blocking and movement was tight and tactile while maintaining Anderson’s well worn Symmetry (with a capital S!) in all frames. This film might fall more on the niche side of his works than say “The Grand Budapest Hotel” but it won me over and I’ll definitely be adding it to my collection once the physical copy is released.

 

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Now, to discuss the elephant in the room; the fact that Wes Anderson made a creative choice to have all human characters speak in their native tongues and deciding against subtitles. There are also translations through interpreters at events or machines that perform the same function. The untranslated Japanese speakers didn’t bother me in this film’s context, it felt more like a quirky choice that was an example of the difficulties with translation as a whole as used in the dogs versus humans, but yes this was clearly made for an English speaking audience. Personally, I’m of the mind that ‘cultural appropriation’ and those who like to throw the term about wildly, aren’t nearly as bad or mean-spirited as people might immediately assume. Obviously context matters here, ‘blackface‘ for example was not okay and we all understand that. However, today’s outrage culture seems poised to sniff out any little tidbit of possible offense and use it to lambaste those who might simply be fascinated by other cultures and their traditions. Just so long as the Japanese voice actors’ speech wasn’t derogatory or insensitive to the culture, which after doing some mild research- it seems to be a fairly innocent tactic, the filmmaker seemed invested in playing with a motif of Japanese culture while also attempting to do so respectfully.

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I just don’t understand the effort that goes into being that upset consistently. I don’t want to get too far into the weeds about this here as this is just a review for “Isle of Dogs”, but its relevant to the film. Injustice is important to seek and stamp out in society if possible, but if you’re so narrowly focused that you’re actively protesting a Wes Anderson film- well, there are more productive ways you could be helping society as it relates to injustice. As an example, I don’t get that incensed when I see a white person wearing dreads, however, I am upset by government agencies destroying the environment and further ruining the last patches of land and water left to our Native American peoples. Anyway, that’s the end of my miniature lecture.

Final Score: 5 guide dogs and 1 determined boy

*Below are two articles that further discuss the translations, and lack thereof in “Isle of Dogs”, and I encourage you to give them a read if you’re invested in the topic.

https://www.newyorker.com/culture/cultural-comment/what-isle-of-dogs-gets-right-about-japan

https://slate.com/culture/2018/04/what-its-like-to-watchisle-of-dogsas-a-japanese-speaker.html