As with my previous post on
tv shows, I will lead with a somewhat gynocentric approach to the films of 2017,
since most of my favorites featured women characters and creators. That applies to one of the year’s best, My
Happy Family, which I’ve already written about here.
Also guaranteed a place on my
final best of year list is Mudbound (MC-85, NFX ). Though the film is the
product of many voices, and seems to feature male characters, it is
overwhelmingly a product of female sensibility, from the author of the original
novel, to screenwriter/director Dee Rees (who is right up there with Ava
DuVernay in the tiny elite of black female filmmakers) and cinematographer
Rachel Morrison (first woman to get an Oscar nom in that category), to Cary
Mulligan and Mary J. Blige, who are the soul of the cast. The film truthfully depicts racial tensions
in the Mississippi Delta in the Jim Crow years just before and after WWII, in a
way that is both thoughtful and horrifying.
It tells the polyphonic story of two interlocking families: one white,
poor and feckless but privileged to own their farmland; one black, hardworking
sharecroppers with no rights to the product of their labors. No Hollywood prettying up here, despite the intimately epic
style. These people are dirt poor, and
bound to the mud from which they try to extract a living, and in which they
wrestle with historic injustice.
A surprise possibility for my
Top Ten is Marjorie Prime (MC-82, NFX, AMZ). Though Michael Almereyda is the director, the
soul of the film feels female, from its title to its two central characters, a
mother and daughter played wonderfully well by Lois Smith and Geena Davis. Jon Hamm and Tim Robbins play their respective
husbands, in clearly supporting roles.
You might call this sci fi, or more probably speculative fiction – it
could be a top-notch extended episode of Black Mirror – but it plays as
a low-tech chamber piece. I found out
after the fact that it was a filmed version of a play, and that makes sense (I
had to back up to catch some of the abrupt scene changes), but I did not feel
my usual aversion to filmed theater. The
movie is a puzzle piece, and I’m not going to say anything more about the
story, except that it’s a film to exercise your emotions as well as your
intellect and insight.
Here’s a pair of 19th-century
period pieces, each an unflinching portrait of difficult Victorian era
womanhood, in their different ways. In A
Quiet Passion (MC-77, NFX, AMZ ), Cynthia
Nixon overcomes physical unlikeness to offer a highly credible portrayal of
Emily Dickinson. Terence Davies’
inventive and idiosyncratic approach to writing and directing renders her life
with the paradoxical insight of his title, clearly identifying with her
mysterious character, subdued and formal yet wild inside. Jennifer Ehle offers superb support and
counterpoint as Emily’s light-spirited sister, while Keith Carradine does the
same as her rigid but intense father.
Like Dickinson ’s poetry, this film requires submission to its
individual vision, but rewards those who succumb to its lovely, subterranean
power.
Lady Macbeth (MC-76, NFX) is based less on Shakespeare and more on
a Russian novel, opera, and film about a 19th century character who
is a cross between Madame Bovary and Lady Chatterley, with an even darker shade
of Gothic horror. Transplanted from
Siberia to the north of England, the story is immaculately filmed in a
constrained style, directed by William Oldroyd, and held together by a magnetic
performance from Florence Pugh, as the layers of the poor young woman’s abused
character are disturbingly peeled away to reveal an amoral heart of
darkness. It’s an intense and unsettling
experience, powerful but not at all uplifting.
To me, Kristen Stewart is not
the mega-star of the blockbuster Twilight series, which of course I
haven’t seen, but an inventive actress who inhabits challenging roles in
independent films. She is decidedly
unglamorous but still transfixing in Certain Women (MC-82, NFX ), which Kelly Reichardt adapted from three short stories about women
navigating the man’s world of small-town Montana. You can understand why a lonely young
horsewoman develops a crush on her, and your heart aches for that character,
played by affecting newcomer Lily Gladstone.
In the other two barely-connected stories, the leads are played by
Michelle Williams and Laura Dern, so you know there is some serious acting
going on here, which makes it easy to ride out Reichardt’s slow-paced but meticulous
storytelling. Meanings remain elusive,
but tangible reality is strong.
Kristen Stewart also made
another film with Olivier Assayas, following up on Clouds of Sils
Maria. In Personal Shopper (MC-77,
NFX ), she is again a personal assistant to a celebrity,
but now much more the center of attraction and attention, as she seeks paranormal
contact with her recently-deceased twin brother. I’m not much into ghost stories (or Ghost
Story – see below), but this is definitely one that managed to be spooky without
being real cheesy. The film wanders and
meanders, but one’s gaze never wavers from the morose Ms. Stewart, who can go
from mousey to glamorous with a simple change of clothes.
A change of clothes also does
wonders for Gal Gadot, but she is never mousey.
She is Wonder Woman (MC-76, NFX ), and makes the movie well worth seeing. I generally make it a rule not to watch any
superhero flicks, but I made an exception for this film’s supposed feminist
slant. That may be overstated – all nine
credited writers are male – but it is directed by a female (Patty Jenkins), and
certainly is dominated by its actresses.
I was quite taken with the mythological backstory of the Amazon kingdom
ruled by Robin Wright and Connie Nielson, and impressed by the transition to
WWI Britain. But the dazzle soon wore
off in the inevitable and interminable action sequences. Not my idea of cinema, but not an unpalatable
taste of popular culture.
More my sort of thing, in various ways, was the backstory behind the female comic book superhero, in Professor Marston & the Wonder Women (MC-68,NFX ). First off, it added another
black female writer-director for me to follow, in Angela Robinson. In this cultural moment of female
(dis)empowerment, she streamlines and dramatizes the same story told by Jill Lepore
in The Secret History of Wonder Woman: how an academic psychologist
wrote the comic in the Forties, to advance radically feminist ideas along with
B&D sexuality, while living and having children with his wife and another
woman. As always for me, Rebecca Hall
stands out in the cast, as the professor’s more brilliant wife and research
partner. Luke Evans is Marston,
and Bella Heathcote is the student who becomes the other woman in the long-term
triangle. It’s all quite kinky, but
serious and funny at the same time. The
Metacritic rating is decidedly on the low side, but Manohla Dargis’ review in the NYT captures the right note, in my estimation.
More my sort of thing, in various ways, was the backstory behind the female comic book superhero, in Professor Marston & the Wonder Women (MC-68,
Speaking of wonderful women,
Billy Jean King is engagingly played by Emma Stone in Battle of the Sexes
(MC-73, NFX). As you would
expect from the directors of Little Miss Sunshine, this film is rather
obvious and crowd-pleasing, but it does have some genuine period flavor and a
lot of appealing performances. Steve
Carell makes Bobby Riggs more manic clown than calculating boor. Their eponymous 1973 showdown in the
Astrodome (watched by 90 million people on tv, including yours truly) provides
a foregone conclusion, but also an exhilarating thrill of nostalgia, as the
tennis scenes unfold with verisimilitude.
Among the women, Sarah Silverman and Andrea Riseborough provide
distinguished support, as Billie Jean’s promoter and newfound lover
respectively. In the year of #MeToo, the
creepiest scene of all is the actual Howard Cosell with his arm wrapped around
the neck of his co-commentator Rosie Casals.
An enjoyable movie, if not an estimable film.
Not vying for my best of year
list, but mentioned here for their female directors, are two quite different
films from careers going in different directions. In Beach Rats (MC-78, NFX), Eliza
Hittman takes a further step into the moody, sensual, scary world of teen sex
in Brooklyn . As in It
Felt Like Love, this film is carried in all intimacy by its lead performer,
in this case the captivating Harris Dickinson (incredible to learn after the
fact that he is British) as a boy with a girlfriend, who nonetheless trolls the
internet for hook-ups with older men.
While Ms. Hittman is coming
into her own and finding her voice, Sofia Coppola is reduced to repeating
herself, and older films. Her remake of
the Civil War drama The Beguiled (MC-77, NFX) is also a reprise
of her first film, The Virgin Suicides, in its depiction of the sexual
urges of sequestered females. Style is
all well and good, but here it decays into nonsense, without grounding in any
sense of truth. This story of a wounded
Union soldier taking refuge in a southern female seminary is pure fairy tale,
and its arbitrary transplantation from Louisiana to Virginia is indicative of the film’s carelessness and
unreality. I generally like Colin
Farrell, but he is no Clint Eastwood, for better or worse, and this character
is just an unmotivated hash. The
schoolmarm is Nicole Kidman, and among the rest are Kirsten Dunst and Elle
Fanning, who are of course watchable, even when their actions are either too
obvious or too senseless. I’ve been a
follower of Ms. Coppola’s career, but here she leaves me behind.
Now we turn our attention
from women to men, as characters and creators. Ken Loach is among my favorite workingdirectors, and I, Daniel Blake (MC-78, NFX) ranks with his
best films. David Johns is excellent as
the title character, a Newcastle widower who has had a heart attack and is unable to
return to his job as a carpenter. As
such, he falls into a bureaucratic hell where he is ineligible for either
welfare or unemployment benefits, just churned through the system and spit
out. He forms a bond with another of the
system’s rejects, a young single mother with two small children (Hayley
Squires), and caring for them gives him a reason to persist, and eventually to
enunciate the film’s credo: “I am not a client,
a customer, nor a service user. I am not
a shirker, a scrounger, a beggar, nor a thief.
I am a man, not a dog. As such, I demand my rights.” The lead actor’s background as a comedian
does a lot to lift the mood of a film that could have come across as grim,
though the residue of outrage remains.
The Criterion Collection disk of this film also contains an excellent
feature length documentary, Versus: The Life and Films of Ken Loach.
Working in very much the same
leftist vein as Loach, though in a different style, the Dardenne brothers’
latest is The Unknown Girl (MC-65, NFX ). I don’t understand the
reservations represented by that Metacritic rating, twenty points lower than
their typical score. Maybe not quite up
to the very highest level of their previous films, it’s nonetheless among the
best of the year, IMH O. In the same
manner, the actress around whom the film revolves, Adele Haenel, may not reach
quite the level of Marion Cotillard in Two Days, One Night or Cecile de
France in The Kid with a Bike, but she is quite magnetic. Maybe some critics were put off by the
Dardennes spicing up their austere style with genre trappings of crime
procedural, as a young female doctor investigates the circumstances of a death
for which she feels guilty. The setting,
as ever for the Dardennes, is among the struggling lower classes of Seraing , Belgium , with a tone of deep human sympathy and
understanding.
Lucky (MC-79, NFX ) was written as a final starring vehicle for 90-year-old Harry Dean
Stanton, and it turned out to be something beyond memorial or reminiscence,
astringent rather than nostalgic, as befits the long-time character actor. Another busy character actor, John Carroll
Lynch, makes his directorial debut in this comic meditation on mortality and
the meaning of life. In a hardscrabble
desert landscape, a cranky old codger goes through his daily routine, waking up
to his first cigarette of the day, doing his set-up exercises in his underwear,
walking to the local diner for coffee and crossword, home to watch his
afternoon tv shows, then back out at day’s end to hang out with the local
eccentrics at his regular tavern, declaiming mordant affirmations of misanthropy
and atheism at every stop. He’s wised
up, and dried up, but he’s not giving up.
Another miserable guy you
come to like and even admire for his peculiarities is the Ray Kroc portrayed by
Michael Keaton in The Founder (MC-66, NFX ). I don’t know why this film
was not better reviewed; certainly Keaton’s performance here was much more
impressive than in Birdman. As
Kroc, he’s a sharp businessman in every sense of the word, screwing the
MacDonald brothers (Nick Offerman and the aforementioned John Carroll Lynch)
out of their name and franchise. He’s by
no means a sympathetic character, but he is shrewd and indomitable. Sure he’s as predatory a capitalist as they
come, sure he dumps loyal wife Laura Dern for equally mercernary Linda
Cardellini, but somehow you have to grant his energy and drive in transforming
the landscape (and waistline) of America, for better or decidedly worse. With this witty cast and even-handed irony,
director John Lee Hancock delivers a smart satire of business to rival The
Big Short.
[Click through for a score
more films of possible interest]