ANNA KARENINA (2012)

 Greetings again from the darkness. We are all familiar with the phrase “All the World’s a Stage”, and director Joe Wright and writer Tom Stoppard twist the phrase into “All the Stage is the World” in their re-imagining of Leo Tolstoy‘s literary classic. With a bold and ambitious vision, the story plays out mostly within the confines of a theatre … utilizing not just the stage, but the rafters, backstage and all nooks. This is pulled off in a most operatic manner with heavy production, remarkable sets and costumes, and the use of curtains and doors for a change of scene. Additionally, most of the actors move like dancers and, at times, the dialogue delivery borders on musicality.

Tolstoy’s story has been adapted for the screen in more than two dozen versions, including two from screen legend Greta Garbo (1927, 1935). Who better to take on the role of Anna than Keira Knightley, the ultimate period actress of our generation. It’s her third film with Joe Wright (Atonement, Pride and Prejudice) and by far, the least traditional in presentation. This version focuses on the affair between Anna and Vronsky (Aaron Taylor-Johnson from Kick-Ass), and her resolve in tossing aside her standing in Russian high-society … and even giving up her son.

We do gets bits and pieces of the other story lines: Oblonsky (Matthew Macfadyen) provides some comic relief from the start despite his extra-marital wanderings from his wife (Kelly Macdonald); the stoic determination of the bureaucrat Karenin (Jude Law) as he insists on maintaining the proper illusion; and the down-to-earth landowner Levin (Domhnall Gleeson, Brendan’s son) with his pursuit of perfect farming and the beautiful Kitty (Alicia Vikander). Some viewer disappointment creeps in when we realize that Levin’s story is minimized here for the torrid love affair of Anna and Vronsky. Levin’s story is allowed to sneak outside the theatre setting … presumably since he is the only character living in the real world.

Tolstoy’s powerful story is stymied to some degree by the lack of sympathy we feel for Anna … while we certainly understand her lack of connection to the cold Karenin, we never sense more than a physical attraction and unreasonable wish between she and Vronsky. The strength of the story stems from Anna’s knowing willingness to surrender her place in society for the sake of what should interprets as true love. When one of the society ladies states she could forgive Anna for breaking the law, but not for breaking the rules, we fully comprehend what a ridiculous state those in high society exist.

It’s difficult to imagine a wide acceptance of this unique presentation; however, the technical aspects of the film deserve much Oscar consideration – cinematography, set design, costumes, etc are all first rate. And Keira Knightley proves again that costume dramas are where she is at her best.

SEE THIS MOVIE IF: you thought all possible presentations of literary classics had been explored OR you need further proof that no actress today seems more natural in the unnatural costume dramas than Keira Knightley

SKIP THIS MOVIE IF: film interpretations of the elite literary classics leave you with an empty feeling

watch the trailer:

http://www.youtube.com/watch?v=rPGLRO3fZnQ

SEEKING A FRIEND FOR THE END OF THE WORLD (2012)

Greetings again from the darkness. First time director Lorene Scafaria is best known for her wonderful script for Nick and Nora’s Infinite Playlist. Directing her own script here, we are left wondering if the gaps are in the writing or directing, but it’s clear Ms. Scafaria loves long titles. Matilda, a giant asteroid, is headed towards Earth and life will cease to exist in 3 weeks. Upon hearing this news, Dodge’s wife Linda (played by Steve Carell‘s real-life wife) takes off running away from him and supposedly into the arms of her secret love affair partner.

Dodge (Carell) has little reaction to the bailing of his wife or even to the impending Armageddon. In fact, he strikes us as the guy who has had little reaction to much in life and has no idea who he really is. While he does have some acquaintances and a predictably boring job at an insurance company, Dodge shows no inclination to join in the festivities of excess (drugs, sex, religion, riots) enjoyed by others, and instead offers up a lame, sure-to-fail suicide attempt to go with his droopy demeanor and overall lethargy.

It takes little time for Dodge to be saddled with an abandoned dog named Sorry and a crying neighbor named Penny (Keira Knightley). This part of the film is actually its best feature. We get the forced partnership of this odd couple and a road trip that allows for some interaction with others. The others include standout scenes with William Peterson, Bob Stephenson and TJ Miller (below, left, the host at Friendsy’s, a TGIF themed diner that devolves into a lovefest that neither Dodge nor Penny care to partake.

 The road trip does have the outline of a purpose. Dodge wants to re-connect with his high school sweetheart and Penny wants to get home to England in time to say goodbye to her parents. However, it’s pretty clear that the main reason for the road trip is to allow Dodge and Penny to fall in love. Just another apocalyptic rom-com.

I totally get the “opposites attract” approach, but I found Knightley to be far beyond quirky (John Cale and Leonard Cohen vinyl) and closer to her mentally unstable character in the first hour of A Dangerous Method. As for Dodge, he may be the nice guy that Penny sees, but mostly his life force hovers just above zero, while wearing sweaters that would fit right into Mr. Rodgers’ neighborhood. It’s not until he visits his estranged dad (Martin Sheen) that he shows signs of a pulse.  It’s kind of interesting to pay attention to the names in the film.  Dodge is ironic given what’s headed toward Earth.  Penny may or may not be lucky depending on your interpretation.  A survivalist named Speck, who doesn’t get that his preparations make no difference.  And, of course, a dog named Sorry.

2011 brought us two fascinating end-of-the world films in Melancholia and Another Earth.  This one avoids the manic depression of one or the science fiction of the other. While I never really bought into the heightened attraction of these two who miraculously become kindred spirits thanks to the time constraints, their relationship does provide fodder for thought. What would you do if you knew things were ending in 3 weeks? Would your true self finally make an appearance? If so, what are you waiting for? The message really is … our time is limited so don’t waste it.

SEE THIS MOVIE IF: you wouldn’t mind a little Herb Alpert with your apocalypse OR you need a primer in the greatness of vinyl records, even if the knowledge won’t help once the asteroid hits

SKIP THIS MOVIE IF: a hyper, twisted-faced Keira Knightley is not your ideal partner at the end regardless of the pristine condition of her John Cale and Leonard Cohen albums

watch the trailer:

A DANGEROUS METHOD

 Greetings again from the darkness. This film and story is yet more confirmation for my life-long belief that, in general, psychiatrists and psychologists tend to be the most unstable and consistently loony people in society. Whether in the medical profession, business world or scientific realm, over-blown ego affects judgment and clarity; and sometimes leads to the mis-guided notion that proving one’s theory is more vital than finding real truth.

Sigmund Freud (Viggo Mortensen) and Carl Jung (Michael Fassbender) are considered the founding fathers of what we accept today as psychoanalysis. In this film, we see how the two men came to know each other and the subsequent prideful battle of egos that drove them apart. Just as importantly, we see how Sabina Spielrein (Keira Knightley) evolved from clinical hysteria sufferer in 1904 (as the film opens), to Jung’s patient, to Jung’s lover, and finally to the level of respected colleague of Freud and Jung within the field. Her growth and change as a patient provided clinical proof to “the talking cure” method, which took the place of electro-shock therapy (except in extreme cases).

 The film is directed by David Cronenberg, although you might not believe it if you didn’t know it to be so. Mr. Cronenberg is known for such work as The Fly, Eastern Promises and A History of Violence. This is easiest his most dialogue-intensive work to date. Of course, that makes sense given that it’s based on Christopher Hampton‘s play “The Talking Cure” and John Kerr‘s book “A Most Dangerous Method”. The two main subjects love to hear their own words, though here Freud spends much of his screen time puffing a cigar and tossing in a few well-timed grunts. This goes to his belief that silence often leads others to conclude that his theories are so solid, debate becomes unnecessary.

 It is very interesting to see the personality differences between the subdued Freud and the more open-minded Jung. When mystical and supernatural subjects are brought up by Jung, Freud quickly dismisses them as hooey. Freud was almost a master marketer is his attempts to get psychoanalysis accepted into mainstream. He fought Jung’s more exploratory ideas. At the heart of the film is the evolution of Sabina and it’s impact on the three leads. There is also a bit of Otto Gross (Vincent Cassel) thrown in to show just how open and vulnerable Jung could be.

Learning about these pioneers is crucial to understanding the topic of today’s psychiatry and psychology. There is no question that the foundation of their work led to the salvation of many suffering people over the years. Of course, it’s clear that many patients have also suffered at the hands of those in the field who are less scrupulous.

The look of the film is beautiful, as are the costumes and sets. An added bonus is the terrific score from Howard Shore. It’s difficult to see this one attracting a wide audience, but the performances and subject matter should please those who are drawn to it.

SEE THIS MOVIE IF: you fancy yourself an amateur psychiatist OR you would like a primer in the beginnings of psychoanalysis

SKIP THIS MOVIE IF: you aren’t up for frequent tie-ins to sex … after all, it is Freud!

watch the trailer:

NEVER LET ME GO (2010)

 Greetings again from the darkness. Let me say that it’s great to have Mark Romanek back directing films. His most recent feature was 2002′s One Hour Photo which I found masterful. Here he has source material from the acclaimed novel of Kazuo Ishiguro (The Remains of the Day) and does an admirable job depicting this underground world of test tube-grown replacement parts. Despite the numerous opportunities for moral and philosophical statements, the film does a nice job of staying true to the novel and avoiding the soapbox.

We are introduced to Kathy, Tommy and Ruth. They are 3 friends being raised at Hailsham – a cross between an orphanage, boarding school and laboratory. The kids have no idea of their purpose in life and just go about their days as instructed – never really finding a need to question their existence … though many “stories” of the place have evolved over the years.

One day, a teacher played by Sally Hawkins breaks the code and explains to the children that their sole purpose in life is to be harvested for body parts. Sure this theme has been explored previously, but not really from the kids’ perspective. Ms. Hawkins’ character is instantly relieved of her duties by the cold-natured head mistress played perfectly by Charlotte Rampling.

Flash forward a few years and the three are played by Carey Mulligan (Kathy), Andrew Garfield (Tommy) and Keira Knightley (Ruth). We see a romance develop between Ruth and Tommy, though it’s obvious the real connection is between Kathy and Tommy. As they move to “the cottages” (a middle step in development), they learn a bit more about the curious real world.

It’s not until a few years later when we see how two of them have fulfilled their obligation, while one has delayed by playing a “carer” to donors, that we see just how bleak this existence is. The real questions are raised by Kathy as she wonders just how different their lives are than those in the real world. It seems both sides have regrets, unrealized dreams and a shortage of time. Here endeth the lesson.

This film is gathering a bit of Oscar buzz from the critics, but I must admit that I found it leaving entirely too much up to the audience. There are too many gaps to fill and not really much conflict or drama. It is finely made and well acted, but comes up short of what I would expect from a true Oscar contender.

SEE THIS MOVIE IF: you read the novel and/or are intrigued by the idea of creating replacement parts for humans OR you just want to see the guy replacing Tobey Maguire as Spider-Man.

SKIP THIS MOVIE IF: you prefer your films on the cheery side of the emotional scale