film

@ The Movies! “The Last Duel”, “Last Night in SoHo”, & “The French Dispatch”

Over the last few weeks I saw three new releases in theaters, and in this film critic’s humble opinion, each one was a cinematic triumph. The main thread linking each film, unfortunately, is that despite these films having mid to large budgets, numerous big name actors attached to each one, AND the fact that each film is directed by auteur film directors in Ridley Scott, Edgar Wright, and Wes Anderson- none have performed well financially at the box office. Granted, there are a huge number of caveats to this year’s box office numbers for every major film release- but given the recent major resurgence in theater-going audiences that began in earnest this year with “Shang-Chi and The Legend of the Ten Rings”, it’s a bit discouraging to see a lack of interest in these excellent films. I sincerely appeal to you dear reader, please go see these films at the theater. If you care at all about the filmmakers and actors putting these films together, and the future of adult themed films being able to obtain star power and big budgets, again, I implore you, give these films a shot if you’re feeling safe enough to do so. Unfortunately, studios will take note when the money doesn’t exactly roll in. Especially in the case of “The Last Duel” and it’s dwindling box office returns, which is a crazy turn of events considering the talent involved.

“The Last Duel”

Written by Nicole Holofcener, Ben Affleck, and Matt Damon, and directed by Ridley Scott, “The Last Duel” is a medieval “Rashomon” of sorts in which characters reflect on the events leading up to the titular duel. The first version of the story is told through the eyes of Matt Damon’s Sir Jean de Carrouges, a man of war who works for Dukes and Kings, even when looked down upon by those he serves and those who galivant with the powerful. The second version of the truth is from Adam Driver’s Jacques Le Gris, a Nobleman of the realm who did indeed fight alongside Jean de Carrouges in war, though he eventually befriend’s Ben Affleck’s Duke Pierre d’Alençon- who bristles at even the sight of Jean de Carrouges. The third and last truth is told from Lady Marguerite’s (Jodie Comer) point of view, and her story holds the most revelations as she is the victim of a brutal sexual assault by Jacques Le Gris. Obviously, each person believes they are the hero of their own stories, and as each of them will not budge from their account of the truth, the solution is to have both men battle in a duel to the death and, “Let God decide who is right”. As far as the production of the film, everything looks great, Scott keeps each story on the same visual level creating a cohesive world while distinctly altering each repeated scene as the characters view them. It’s a damn smart film on a technological level. The action scenes, especially with the titular duel, are outstanding, visceral, and powerful. Naturally, as the Knight of the three, Jean de Carrouges has the majority of these scenes in his version and within Jacques Le Gris’s story as well. They truly add to the overall theme of the film, that living in the past may not be as glorious as we’d all like to think it could be. Story wise, the film also excels as each version of the truth told by each character layers the other two’s perspectives to a level that ultimately may be the closest thing to the truth. Though, the film does take a side of the three characters as to whose version actually IS the truth. Within the context of the film, it makes all the sense in the world to have Lady Marguerite’s version of the story be the true version, but admittedly, I prefer Kurosawa’s take on the central idea- that everyone embellishes and no one is capable of telling the truth without muddying the waters a bit. In “Rashomon”, for example, even the ghost of the dead character who speaks on the issue of their own murder couldn’t help but embellish the truth. Though, Lady Marguerite’s version greatly impacts the other two chapters of the film and how each character could misinterpret each other’s intentions. Though I have to say that even in Jacques Le Gris’s version of the rape scene, it’s not easy to watch. Sure, he sees it as a more playful endeavor- but he’s still, clearly, in the wrong. Lady Marguerite’s version of that scene is so much worse and far more brutal- even with subtle changes in the edit, like punching up the sound design to sound… well it’s just worse and more painful. It’s certainly hard to watch, but it does give the actual duel more weight. Speaking of the duel, the film also chooses to depict the battle as a disgusting, and frankly gross, way to solve a dispute. In this world and time however, it’s the closest thing society had to…. justice? It’s a brilliant move that informs the audience that even with all of the pomp and circumstance, all the talk of honor and pride, it’s just two men fighting to the death in the mud over what happened to a woman- who in this time is viewed, unfortunately, as property. History is brutal dear friends, and while it’s fun to romanticize Knights, Kings, and Queens- it wasn’t exactly a great time to be alive for many of us. That being said, I do highly recommend seeing this one.

“Last Night in SoHo”

Written by Krysty Wilson-Cairns and Edgar Wright, and directed by Wright, “Last Night in SoHo” is a Horror Mystery film in which a young aspiring fashion designer moves to London and eventually finds herself being transported to 1960’s London every night. Thomasin McKenzie stars as Eloise, a young woman who’s accepted into a fashion design school in London and promptly travels there from the countryside. She’s quite obsessed with the culture from the 1960’s through films, fashion, and music. After Eloise encounters a bit of a rude social awakening with her peers at the university, she moves to a small one-bedroom flat nearby. Once she rests her head in her new home at night, she’s transported to that glitzy and glamorous 1960’s London. After a moment out on the street in dazzling wonder, Eloise makes her way into a nightclub and in the reflection of some walled mirrors she sees not herself, but the magnificent Anya Taylor-Joy reflecting back at her. She decides to follow the moment and watches Anya Taylor-Joy’s confidence whisk her into a dance and departure sequence with the charming Matt Smith as her eventual manager in entertainment. To reveal much more would be a disservice to those interested in giving this film a shot, but I must say that I do highly recommend it, the mystery of the story is a lot of fun! I was recently reading a book titled “The Film That Changed My Life: 30 Directors on Their Epiphanies in the Dark” and Edgar Wright’s chosen film was an informative one. The film that irrevocably changed his perception of films and filmmaking was “An American Werewolf in London” a briskly paced horror-comedy from 1981 whose immediate spiritual connection with Wright’s own “Shaun of the Dead” is immediately noticeable. In his passage, Wright spoke about that film’s relationship with the horror genre and how much he wanted to tackle the genre himself one day, and here we are in 2021 with Wright’s first legitimate Horror film. As it’s his first film in the genre, there’s some genuinely creepy and harrowing ideas that Wright throws at the screen, especially once the third act gets rolling. However one of the more interesting aspects of the film comes with how he approaches nostalgia. Those rose-tinted glasses might be lying to you, the past may not be as romantic as you once thought. While at times he does rely on a bit of jump-scares, nothing is outright obnoxious, but it’s a trait revealing his beginnings within the horror element. The jump-scare ghosts within the film itself aren’t all that scary, however the scenes depicting Eloise’s inability to escape being transported back to 1960’s London at night- that is some terrifying stuff. What’s worse is the horrible awful things done to young women in the entertainment industry in the past (and in the frighteningly recent past too as the Me-Too movement revealed). If you’re a fan of the British filmmaker this is just another fascinating entry in his evolution as a director and screenwriter and I highly suggest seeing it if you can. If you’re new to Wright in general, go see it! Then give his older films a watch, they’re to die for!

“The French Dispatch”

Written and directed by Wes Anderson with story elements written from the likes of Roman Coppola, Hugo Guinness, and Jason Schwartzman. “The French Dispatch” is Wes Anderson’s tenth film, and it feels like the culmination of all his previous films rolled into one gigantic smorgasbord of cinematic delights. The whole conceit of the film is that The French Dispatch was a fictional American Newspaper, set in a fictional French city (Ennui, pronounced AHN-WEE), with the story focusing on the last edition of the Newspaper and the journalists who wrote each piece. First we get a small bit of information about the Newspaper, how it started, and the editor who ran it up until his death, Arthur Howitzer Jr. played exquisitely by Bill Murry. Which is the inciting incident of the film and the reason it’s the last issue. Each major section is narrated by the journalist that wrote the piece, and each one is a depiction of life in Ennui as seen through the eyes of the writers. The first bit is effectively a short written by Herbsaint Sazerac (Owen Wilson), which details the city itself and the downtrodden, homeless, school children, street walkers and prostitutes who live in it. The three major pieces are written by J.K.L. Berensen (Tilda Swinton), Lucinda Krementz (Frances McDormand), and Roebuck Wright (Jeffrey Wright). Each one focuses on different aspects of the city they lived in and the stories they thought worthy of telling. Each one is unique and fantastically fabricated. Berenen’s piece focuses on an artistic savant, who also happens to be a psychotic killer living in prison in perpetuity while Ms. Krementz chose to dive into the student revolution taking place in the city in a war of ideologies between Ennui’s generations. Roebuck Wright’s piece delivers the goods on an infamous night in which he was invited to dine with the Police Chief’s superb in-house chef, known far and wide for his culinary skills. The infamy in question began with the kidnapping of the Police Chief’s son during the dinner. I’ll leave the plot descriptions at that for now, as they are told much more skillfully by the writers and performers of the actual film itself. This is the sort of film that I go to the movies to see. Actors in costumes, on sets, using practical props, with monologues and action beats and lots and lots of wordplay. I’ve always been somewhat 50/50 on Wes Anderson, though the back half of his career has given us some of my all-time favorite films. Notably, “The Grand Budapest Hotel” and “The Life Aquatic”. This one however, may be my new favorite Wes Anderson film, and possibly my favorite new film of the year. I’ll have to reflect and see it again when thinking back on 2021’s admittedly outstanding collection of film releases if I’m being honest. However, anyone that’s not much interested in Wes Anderson films to begin with, may not be as in tune with “The French Dispatch” as I was. For anyone uninterested in the quirks, that commonly come packaged as criticisms, of this director, mainly that he’s “too literary“, “too invested in European culture“, or “too kitschy or twee“- these potential audiences will most likely not be persuaded by this film. Indeed “The French Dispatch” is all of those things and more, some could call it style over substance, but I’d take issue with that criticism personally- there’s heaps of substance, whole island nations of substance, if you ask me. It just may not be for you in execution. Yes, his dollhouse aesthetic is still present, as is his love of symmetrically composed shots and lateral movement tracking shots, but would it really be a Wes Anderson film if he didn’t do any of those things? Probably, but perhaps not? This film is amongst his strongest work, and I really do recommend giving it a watch, even if you haven’t enjoyed Anderson’s work in the past, this one was particularly enjoyable in my opinion.

film

Old School Review: “Rashomon” (1950)

Written by Shinobu Hashimoto and Akira Kurosawa, and directed by Kurosawa, “Rashomon” is a film about the complexities of human nature surrounding a murder with four contradictory eye-witness accounts. In the film three men find solace from a torrent of rain under Kyoto’s Rashomon gate. In the opening a woodcutter (Takashi Shimura) and a priest (Minoru Chiaki) are discussing and processing the differing accounts of an event recently taken place nearby. A commoner (Kichijiro Ueda) comes in from the storm and joins the conversation. He’s brought up to date on the situation at hand; a samurai (Masayuki Mori) has been murdered, his wife (Machiko Kyo) raped, and a local bandit (Toshiro Mifune) is the suspect. The woodcutter happened upon the crime scene and was the first to report the incident.

What follows is a series of revolutionary flashbacks to describe the tale as each character remembers it. All retellings of the same event differ, while remaining both true and false. True in that it is how they remember the events, but false in objective truth. The only scenes that are objectively true in what they show us are the ones taking place at Rashomon. Every flashback is an amalgamation of fractured memories, every scene in the forest broke new ground by showing the audience unreliable retellings of the past. This wasn’t a new idea that “Rashomon” originated, but rather a storytelling device that the film popularized. In fact the film is so connected to the idea of contradictory interpretations of past events that they became entwined with each other until ‘The Rashomon Effect’ became part of the cultural zeitgeist.

Each suspect questioned by an unknown official, which leads into each one’s version of the truth. The bandit gives his testimonial first, then the wife, and then the dead samurai- who speaks through a spirit medium, with the woodcutter’s tale kept until the end. All claim to be guilty to varying degrees, and all describe the situation with varying representations of themselves and the others involved. The three men under the Rashomon gate have differing reactions to the events and various recollections of those involved. The commoner is the most cynical of the three, at one point he posits, “Is there anyone who is truly good? Maybe goodness is just make-believe.” The woodcutter is visually distraught by these stories as he tries to reassemble the truth of the matter, while the priest seems to be placing the weight of his faith in humanity upon the outcome of the tale.

The film ends on a high note when the fog of ambiguity is lifted by the sounds of an abandoned child crying out. The woodcutter lifts his spirits and takes on the responsibility of this orphan, proving to the priest that humanity still has hope left in its spirit. The simple act of selflessness gives the film’s end a beacon to strive towards, even if humanity is muddled, complex, and not always truthful- we still strive to be better than our worst habits.

Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing.“- Akira Kurosawa

Final Score: 1 samurai ghost, 1 over the top bandit, and 1 woodcutter