Brandon's movie memory

Here are three that’ve been hanging about for the last couple months because I haven’t felt like watching any more awful movies lately.

Seven Pounds (2008, Gabriele Muccino)
After flashing-back to the time he killed his wife and six other people because he wouldn’t stop looking at his cellphone, Will Smith lowers himself into a bathtub full of ice and jellyfish. I think he died and donated his heart to Rosario Dawson, because she wakes up seeming all sad then goes and hugs Woody Harrelson in the park. Seeing all these people cry makes me wanna cry. The director made The Pursuit of Happyness which would probably also make me wanna cry, and the writer once did an episode of Sabrina The Teenage Witch.

Blindness (2008, Fernando Meirelles)
I wasn’t expecting this jaunty Thomas Newman-sounding music (it’s not by him), nor this confused, fuzzy montage-looking filmmaking – hmmm, it’s from the guy who made City of God, so maybe I should’ve. This movie would seem to call for more straightforward direction, like Seven Pounds, which looked totally reasonable, but maybe Meirelles doesn’t know how to be straightforward. Anyway, Julianne Moore leads everyone to her house, Danny Glover has an eyepatch and tells some girl he loves her, and then Yusuke Iseya (who ruled as the white clan leader in Sukiyaki Western Django) can see again and everyone is glad. Just like the book, but blurrier.

Swing Vote (2008, Josh Stern)
Montage: two cute girls (Costner’s girlfriend[?] Paula Patton of Mirrors, and daughter Madeline Carroll of Resident Evil: Extinction) are reading mail to scruffy Kevin Costner in front of a whiteboard while media types are gathered outside his trailer. Arianna Huffington has some awkward dialogue, then there’s a Texas debate between Kelsey Grammer and Dennis Hopper staged just for Costner, but then why is Costner doing all the talking? Why, it’s a big patriotic speech to America, in which he declares himself an enemy of America for being a crappy citizen all his life. Hopper didn’t get to say a single word, and we don’t see who Costner votes for – booo! Director Stern previously wrote an Amityville sequel and directed an absolutely star-studded fantasy movie I’ve never heard of called Neverwas.

My taunting of Katy for complaining about long movies (“long” > 105 minutes) bit me in the ass today. After an hour delay the movie started, and after 2.5 hours I was the first to moan about how LONG that damned movie was.

The project may have been initiated by the country of Namibia, but it says Burnett wrote and directed, so I’m laying the blame at his feet. So what went wrong? The other Burnett movies I’ve seen centered around small communities, so maybe his style can’t support stretching out to epic scale with ten countries and a hundred characters. Katy points out that Danny Glover had the only character with any depth, and Burnett said in an interview that Glover’s character was fictional, a blending of three or four real people, so maybe Burnett has problems with writing history and his strength is in fictionalization. After the recent reissue of Killer of Sheep, every film critic fell over himself to declare Burnett an American treasure, so maybe the combined weights of feeling like he has to live up to his reputation and deliver a high-quality picture, and feeling like it’s his duty to truthfully deliver the story of Namibia to the rest of the world led to too much compromise.

Plot: Young Sam Nujoma grew up in “South West Africa” (aka Namibia), a country governed by nazi… i mean Germans and occupied by South Africa. Sam always dreamed of a free Namibia. He met some guys who also wanted that, and started a political/guerrilla movement called SWAPO. He went to church and met minister Danny Glover. Then he pissed off to the United Nations and stayed there for twenty years, finally returning as president of his newly-independent nation. Yay!

I didn’t realize that Carl Lumbly (who played grown-up Sam Nujoma in a series of fake beards) was also the easily-manipulated slacker Junior in Burnett’s To Sleep With Anger.

Quoting myself in an email:
Movie feels long, and yet each scene feels too short. Tries to tell the *entire* story of Namibia AND of [Nujoma] without leaving anything out, so it’s an epic and a biopic crammed into 2.5 hours. Script feels like a wikipedia article. And story problems aside, it’s full of traditional epic-sounding music, and traditional cutting and camerawork… doesn’t feel like the idiosyncratic artworks that the other Burnett films I’ve seen (Sheep, Wedding, Anger, the shorts) felt like. Disappointing. BUT it’s got some great shots and some fine acting, and the stories of Namibia and Nujoma are interesting, so it was at least worth sitting through. It’s not total crap (like Amazing Grace), just not the great movie I was hoping for.

A reasonably good movie, charming and sweet with a very good ending, but… with all Gondry’s warm-hearted dream fun, why did I feel a bit cold from both this and Science of Sleep? I don’t know the answer.

Jack Black lives in a junkyard and is full of energy and ideas but is childish and doesn’t think things through very well. Mos Def has simple dreams (to help manage the video store, to stay out of trouble), Katy said he seems slow. Store owner and fake-historian Danny Glover is behind the times, takes a bizarre week “vacation” to spy on a blockbuster-like competitor. And Mia Farrow alternately seems addled, impatient or understanding & motherly. The tape-erasing “sweding” business is an excuse for a life lesson (that what you create yourself or what is created by low-budget neighbors with good intentions can be superior to mass-market entertainment) and to unite a community (for a fundraising community bio-pic about “local” legend Fats Waller), with lessons learned from Gondry’s Dave Chappelle concert movie.

Paul “Jellineck” Dinello and Matt “Upright Citizens” Walsh showed up with Sigourney Weaver at the end but I only recognized SW.

A great Bright Lights After Dark article talks about racial harmony in the film:

Jack Black, in blackface with pencil moustache and bowler, is clearly the perfect choice for Waller. It’s not just that he’s fat, but he looks like Waller as well, and could probably sing just like him after studying a few records. Danny Glover has to take Black outside to wordlessly imitate a minstrel softshoe to spell out why despite these assets, even a painted light brown face is too close to the shameful racist past.

One imagines a similar explanation perhaps being needed for Gondry at one point and it’s sad to think of anything standing in the way of his good-hearted vision. Black can’t go nuts as Waller as his showboating nature would permit, but must defer to the much thinner but blacker Def. Now, Waller was very light-skinned. Why couldn’t Black play him instead of Def? The question is rhetorical of course, dating back to antebellum bullshit about one one hundreth of a drop of black blood or whatever. But rhetorical or not, it’s clearly worth asking, and Gondry gives us a safe space in which to ask it. We may not get an answer, but even better is Gondry’s indication that, if our shared culture should one day become our shared property, we may not need one.

Watched again, this time on film, and confirmed that it’s one of the greatest movies I’ve seen this year. Fiery badass political in a more artful way than Michael Moore could ever dream, the culmination of Sissako’s filmmaking styles from Waiting For Happiness and Life On Earth merged with a long, deep-seated desire for change. Too bad it’s almost impossible to recommend as good art and entertainment to people not already interested in African cinema… they’ll never believe me. Jimmy liked it too!