Film Pairings — Two Very Different, And Nearly Flawless Films

Often I put two movies together because of some tangible similarity — plot, character, cinematic style, even setting.  These two are none of the above.  The only thing they have in common is that they are really good.  But they couldn’t be more different

A Most Wanted Man — This is one of the last films with Philip Seymour Hoffman in a leading role.  I was well into the film when I became increasingly conscious of its familiarity.  I immediately checked.  The movie was based on a novel of the same name by John Le Carré.  I should have known, of course.  Espionage, terrorism and innocence are brought to a boil with the same sense of double crossing, blind alleys and distrust that permeate the master’s books and with same frumpy realism brought to almost all of the film manifestations of his work. Hoffman is consequential in a role of a relatively inconsequential man.  Burnt out and perhaps down to his last chance to do right, Hoffman has perfect pitch for a man so seemingly ordinary, so disappointed and so weary with the world. Directed by Anton Corbijn, the film also features Rachel McAdams, and Willem Dafoe.

Point Blank — Not the least bit frumpy or subtle, Point Blank might be one of the sharpest, tightest, and oddly most stylized crime films ever.  It surprised me that Lee Marvin turned out to be the perfect lead. I’ve always found him a credible and an interesting actor — The Big Heat, for example — and strong in supporting roles. But carry a two-hour movie?  I wouldn’t have thought so. He does. The only other quality the two movies share is that they are based on popular novels by master craftsmen.  In this case the book is The Hunter by Richard Stark (Donald Westlake). Marvin plays Walker — a character named Parker in the series of books that has spawned other films. Walker was cheated out of his wife and his share of a job, both thefts by his best friend.  But all Walker really wants is his share of the take. He and the movie move toward that goal with a vengeance. This is a powerful film with a great deal of credit going to Marvin.  It’s also a beautiful, moody, well-lit, incredibly designed and photographed work of art. Directed by John Boorman it also features a striking Angie Dickinson as well as fine performances by Carroll O’Connor, Keenan Wynn and Lloyd Bochner.

If its cold outside nothing wrong with a little cognac or other brandy to keep you warm and mellow while you watch two great movies. 

Film Pairings — The Razor’s Edge: Between Comedy And Tragedy.

Fargo is far more gruesome than Affliction, but one leaves you with a smile even as a body goes through the wood chipper.  The theme here is winter, one last look at snow as irises bloom in our gardens and the barbeques dot the green lawns of suburbia.

Nolte, Coburn and Dafoe

What we have for your frosty double bill today are two Academy Award winning films — Affliction and Fargo.  Part of the interest, I think, in seeing these two in tandem is looking at both sides of the mask — tragedy and comedy — as they are presented in stories of similar tones, in relatively similar settings, and with highly talented actors, directors and writers.  The interest for me is, given the darkness they reveal about human nature, how the two are actually very different? 

Affliction, based on the novel by Russell Banks, is actually less gruesome, but far darker.  Not better, but more “serious.”  Nick Nolte and James Coburn give extraordinary performances as a troubled failure as a son and a cold, brutal father, respectively. Willem Dafoe gives a masterful understated interpretation as Coburn’s other son. Both sons, even as adults, were cowed by their abusive alcoholic father. Dafoe’s character escapes, physically at least.  Nolte’s character doesn’t. He   remains pretty much badgered by the father and also, as the part-time cop in a small town in New Hampshire, by the town manager. Paul Schrader wrote and directed this powerful and relentlessly fascinating drama. The movie is about a deal gone wrong, a murder, integrity friendship and power.  But the central focus is becoming whole. And what the cost of that might be.  Sissy Spacek, as Nolte’s loyal girlfriend, is excellent.

Speaking of a deal gone wrong and a murder, well several of them, let’s end the evening on a lighter note  — sort of.  At least we will laugh. A lot.  Of all the Joel and Ethan Coen’s great films, this might be at the top of the list.   Where Nolte and Coburn propel the story in Affliction, Frances McDormand and William Macy are the essence of this one.  Steve Buscemi gives us still another well-drawn, well-acted character.

Macy’s character wants to rid himself of his wife.  He hires two goofballs to carry out the plan.  McDormand, from all appearances, including being seven months pregnant, isn’t exactly fear inspiring and, at first, one might not believe she has the savvy to ferret out the culprits as incompetent as they are.  But first impressions are deceiving.  Much like Affliction, we’re not in urban America. No subways, traffic jams and high-rises. Instead, we get cafeterias, used car lots, tacky motels, long lonely snow-laden highways, lots of blood and glimpses of our police chief with her stay-at-home poet of a husband.

Fargo won a ton of awards, including multiple awards for McDormand and the Coen Brothers.  Affliction was recognized as well.  Coburn picked up an Academy Award for Best Supporting Actor.  Nolte was nominated for best actor awards, including the Academy Award and Golden Globe for Best Actor.

The drink of the night?  Brandy, preferably brought to you by a big St. Bernard.

Film Pairings — Small-Time Crooks And Great Small Crime Stories

When a writer or film director tries to tell odd, little stories, sometimes you end up with odd, little stories.  And Sonny is one of them.  I want to call it experimental; but there is nothing all that new or inventive about it. Perhaps it could be called an interesting exercise.  It is worth-while, perhaps an engaging curiosity.  Yet it is something out of the ordinary, well done and a chance to see what a talented young actor, James Franco, can do when given free reign. It is also a wonderful opportunity to watch the inimitable Harry Dean Stanton in a subtly meaty role.  If it interests you, Nicholas Cage shows what he did with this, his first directorial attempt.  He also makes a bizarre cameo appearance.

James Franco

The story is about Franco’s character, Sonny. He is a young man who returns to New Orleans and his brothel-owning mother after a couple of years in the Army. It appears that his military stint helped the young man sort out his life.  However, Mom, who trained her son to satisfy wealthy women for a fee, doesn’t want to let go of her prime earner, even though he’s decided to live a “normal “ life.  He just came by to say hello and goodbye. The story gets steamy and more complicated when a beautiful and sexy prostitute, played by sensuous Mena Suvari, shows up.  Her surprisingly tender, erotic presence muddies what otherwise would be a clear choice for the troubled young man.  This is Franco’s movie.  However, it is Stanton who makes it more than a high-quality student film.  Sonny was released in 2002.

Willem Dafoe

Paul Schrader directed Light Sleeper (1992), which is purportedly part of a Schrader trilogy that includes American Gigolo and The Walker.  Willem Dafoe plays the young man, a Manhattan drug dealer and former addict, who seriously contemplates getting out of narcotics altogether.  His drug business boss, Susan Sarandon, has already decided to go legit and may or may not help Dafoe in his desire to change his life. She implies she might, once she’s settled.  Just one last drug delivery.  That’s all she asks. Yeah, right.  One last heist.  One last hit. As you are likely to guess, the last delivery ends up disastrous and deeply personal. However, the predictable twist has a twist.  Light Sleeper is certainly the stronger of the two films.  Dana Delany plays a central character and, if you don’t make a quick trip to the bathroom, you’ll notice a funny little scene with David Spade — not exactly a man with a thousand faces.

I’m really at a loss to recommend drinks to accompany these films. New Orleans?  New York? I’m certainly NOT going to suggest that things go better with Coke.  You are on your own tonight.