Now Playing: Eric Burdon and War--"Tobacco Road"
Synecdoche, New York (2008): My dictionary identifies a "synecdoche" as "a figure of speech by which a part is put for the whole," etc., i.e. saying "boards" when one means "stage" or "sail" when one means "ships." In the directorial debut of screenwriter Charlie Kaufman (Being John Malkovich, Eternal Sunshine of the Spotless Mind, and Adaptation), it appears to refer to the central character's dominating obsession, while doubling as a homonym for "Schenectady." Caden Cotard (Philip Seymour Hoffman) is a theater director and all-around miseryguts who has a succession of disasters befall him in his personal life: his wife (Catherine Keener) leaves him with their daughter for Berlin, he can't seem to make his career get anywhere, and his health is atrocious. After a series of abortive relationships with his secretary (Samantha Morton) and lead actress (Michelle Williams), he gets the idea to produce a groundbreaking theater piece that recreates his own life as it actually happens. Just when things are about to hit rock bottom, he recveives an apparently never-ending Macarthur Genius Grant that allows him to work the piece out in a gargantuan soundstage in New York City, one that starts to grow and grow until it apparently encompasses the actual physical space of the play's setting, rather like that Borges story in which the cartographer decides to make the most accurate map ever in a 1:1 ratio, one that essentially covers its entire subject. The play and real life start to impact each other in mnid-bending ways, until the film ends (I'm told; I had to go to the bathroom as it happened ) in a rather conventional way for this day and age. I had some friends over to watch movies the other night, which I hadn't done in a long time. We had a fun chat and Josh brought Synecdoche over, which I think split opinion down the middle. Nikki's friend Mark said it was the most boring movie he'd ever seen (he's obviously never experienced the delights of Total Eclipse or Ulysses' Gaze), while others were more charitable. I'm still not quite sure what to make of it.l There are a lot of good ideas knocking around in it, but Kaufman the screenwriter definitely needed the skills of Kaufman the director. I've never been much for the auteur theory, but if there's one movie that really underscores the need for a good director at the helm (ironically enough, given the movie's subject), it's this one. The film's supposed to have a dream-like feel, but too many characters (I think mainly of the wonderful Hope Davis' psychiatrist) speak with a forced whimsy that made me think of Synecdoche as the McSweeney's version of Falling Down. Fortunately, the cast is excellent. Hoffman can play parts like this in his sleep now, I think, and he's quite believable and extremely depressing as a man with a complete inability to let those parts of the past go which need it. Among the others, Morton especially stands out as the woman whose devotion to her director and his vision take the film into some very interesting places. Anthony Lane has a pretty good take on it in The New Yorker (amusingly pairing it with High School Musical 3). All in all, it was one of the most unique films of last year, although that hardly means it was one of the most artistically successful.
The Long Ships (1964): In conversations with my co-worker Greg, we've realized that Richard Widmark is awesome, and so I approached The Long Ships with high hopes for an entertaining movie. Based on Frank Bengtsson's potboiler about roving Vikings and swashbuckling Moors searching for a golden bell, it was one of the only movies I know of directed by famous cinematographer Jack Cardiff (responsible for the inimitable look of Powell and Pressburger classics like Black Narcissus and The Red Shoes), and so my hopes might have been higher than otherwise, especially as Viking movies don't generally have a great track record. The Vikings (1958) was amusing enough (especially with Tony Curtis and Ernest Borgnine as Vikings and Janet Leigh as a characteristically feisty damsel in distress), but didn't quite live up to its promise. Revenge of the Barbarians (1986), a piece of Eurocrap made available by my co-worker Joe that I vividly remember being available at my childhood video store (never got around to watching it) was terrible its only saving grace being the striking Icelandic scenery. The Long Ships comes closer to the former, thankfully, although I really wish someone would do one of these right. Rolf (Widmark) and his longship are shipwrecked in North Africa or Spain (was never quite sure) and taken prisoner by the local ruler Aly Mansuh (Sidney Poitier in startling James Brown-style pompadour), who's obsessed with a golden bell hidden by some monks somewhere in the vicinity. Rolf hears of the bell and escapes for home, to find that his father (OScar Homolka) and brother (Russ Tamblyn!!) are being oppressed by the local ruler (Clifford Evans) and his demands for tribute. After hijacking the ruler's ship, Rolf and his merry men head for the Mediterranean, intent on finding the bell. What results is a weird hodgepodge of wacky swashbuckler and typical early 60s high-minded drama. The film can't quite decide what it wants to be, with some sort of mutual admiration between Widmark and Poitier built up through the movie but then concluding somewhat unconvincingly. One of the high points is the now sadly late Edward Judd as the Viking ruler's committed henchman, who finds himself in Widmark's power and schemes to get the ship and bell back for his master. His performance offers a vision of what the film might have been had someone been a little more focused.
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