The buildup to this is semi-complex, but I don’t want to be too specific. Perhaps you will see my dilemma.
Back during the last Crapfest, pal Dave gave me back a DVD that had been on perma-loan to him, which was The Prestige. He had borrowed it long, long ago, back when he was living in an apartment, in fact. I had dropped in for a visit, and had stopped at a Hollywood Video (to show you approximately how long ago this was) to raid their pre-viewed DVDs. One of them was The Prestige, Dave asked to borrow it, I said sure, why not, knowing full well it would be a long time before I got around to watching it, anyway. This was also back when I was wasting every evening of my life playing City of Heroes, which squandered many a movie watching hour. Don’t regret it, I enjoyed playing it with my friends. But I’ve now walked away from that particular teat.
Anyway, Dave handed me back the DVD, and off-handedly stated, “You know, I never guessed that (EXTREME SPOILER).” There was a brief pause, after which I said, “Well, now I guess I don’t have to watch it.” There was a brief scene after that, but Dave was far more upset than I. There is, as Penny Arcade points out, a statute of limitations on spoilers. That I had managed to successfully avoid that particular spoiler for 6 years is remarkable, but Dave was innocent of wrongdoing. Even so, he felt really badly about the whole thing.
About a week after, I sent him an e-mail suggesting we get together to watch The Prestige, because, after all, he had said he wanted to watch it again, and I wanted to watch it for the first time. Earlier that year, when he found out I still hadn’t seen Inception, he urged me to come over and “watch a good movie for a change.” Well, I spoiled that by watching Inception one lazy Sunday morning. Much as I love my wife, Dave would have been a better movie-watching companion for that particular movie. Lisa enjoyed it, but wasn’t particularly engaged by the multiple layers of the central caper, which is something Dave and I would have chewed over with gusto.
So. We watched The Prestige.
I like Christopher Nolan movies because you have to pay attention. And I like them because he doesn’t make that hard, at all. The Prestige has a very fluid timeline, constantly jumping back and forth through the chronology of the two main characters, but it is never confusing in that respect. The tale of an increasingly destructive rivalry between two stage magicians, there is a lot about setup, artifice, and pay-offs, and when Nicola Tesla is brought into the mix (a nicely strange turn by David Bowie), things take a turn for the downright weird. As Dave rightly pointed out, every scene means something different on a second viewing, and the movie is as meticulously constructed as a stage illusion. The seeds of Dave’s spoiler run throughout the movie, and I flatter myself that I would have spotted them, though as Dave points out, we’ll never know for sure. Ah well.
There are a couple of “oh, come on” moments for me, a couple of minor plot points that don’t affect the story that much, I just get curious. Nolan’s eye for casting remains solid. Hugh Jackman and Christian Bale are both great choices, and the supporting cast includes Andy Serkis, Scarlett Johannson and Piper Perabo. Michael Caine is Michael Caine, which is pretty much what you pay him for these days. I swear to God Nolan cut-and-pasted at least one Caine speech from this script into one of the Batman scripts.
Good movie. Quite recommended.
Dave had, just that day, received a disc from Netflix: Cowboys and Aliens. Neither of us had seen it, so into the player it went.
There’s your setup right there: amnesiac Daniel Craig has a high-tech super-weapon locked onto his wrist, aliens keep flying overhead and lassooing innocent people. Hardass cattle baron Harrison Ford recruits Craig to attack the alien’s main base and rescue the people, which is okay by Craig because it seems to be tied into his missing past. In short, this is Terminator: Salvation in a Western setting.
It is also 20-30 minutes too long and wastes a lot of good actors in insignificant roles, like Clancy Brown and Sam Rockwell. There is quite a bit too much time spent marshaling forces for a final battle that seems scattered and, like the movie, over-extended. Can’t find fault with the visual effects, at all, and the actors are a solid lot. It’s entertaining. but not enough for a whole-hearted recommendation. Netflix, definitely.
Well, that was Friday night. Saturday night, I usually have The Show, but as there were no reservations, that was cancelled. This is usually a cause for moping more than celebrating, because missing out on that small paycheck puts my fragile economic ecology in danger. But, I thought, none of that this week, dammit. Last Christmas, I got my wife her favorite movie in the world, Doctor Zhivago, on Blu-Ray. I had never seen Zhivago, so I figured it was high time.
Well.
What a dreadfully cramped trailer for a Panavision film!
Zhivago is, no surprise, the life story of Yuri Zhivago (Omar Sharif), Russian poet and doctor, and Lara (Julie Christie), the woman whose life keeps intersecting his. The chronology of this relationship passes through World War I and the Bolshevik Revolution, more than enough turmoil for a historical romance. On Twitter I opined that this was the longest chick flick ever, which is the sort of thing you say when you are limited to 140 characters.
To be sure, it’s still shorter than that other over-long chick flick, Gone With the Wind, and it covers two vast conflicts instead of GWTW‘s single Civil War – and that is the larger story I took away from my viewing. My wife prefers to think of Zhivago as a great love story; I think of it as the tale of a man buffeted along by events much larger than he. Make no mistake, this is a gorgeous movie – director David Lean, cinematographer Freddy Young, and Omar Sharif’s dreamy countenance provide a very compelling look at how poets view the world. GWTW is very obviously compacting a whole lot of novel into its last half-hour, and I never got that impression with Zhivago – Lean doesn’t make short movies, but those movies are very full without obvious compression.
I’ve long been a fan of the Arthurian legends, probably dating from the first movie I can recall seeing in a theater: The Sword In The Stone. A good friend through college constantly took me to task on this: “How can you possibly like it? It’s a love story based on betrayal.” (Likely because I didn’t focus on the love story, I was more taken with the idea of armored knights as a force for good, rather than medieval stormtroopers, but that’s neither here nor there) Zhivago‘s love story is also one of betrayal, as Yuri falls in love with Lara during their time in a makeshift hospital at the end of WWI. It is to the credit of the characters that nothing comes of it, Lara telling Yuri, “I don’t want you to lie to your wife because of me.”
Yet, after fleeing the wretched conditions of Moscow after the worker’s revolution, Yuri seeks out Lara, and the inevitable betrayal occurs; though both are married, Lara’s husband has been given up for dead (He has in fact reinvented himself as the terrorist insurgent Strelnikov), but Yuri’s wife, mere miles away, is pregnant with their second child. Zhivago is taken from this personal turmoil to another turmoil, as he is press-ganged into a Red Brigade bringing justice (and a whole lot of death) to White Russian forces. During his servitude, his family escapes to Paris, allowing him to live in sin with Lara and her daughter for a time, until the World steps in again.
As is the case with Gone With The Wind, this is not my cup of tea. I can appreciate the craft that has gone into this, the efforts at authenticity, the sheer awesomeness of the cast – but I still honestly cannot connect with what my wife considers to be a great love story. She loves it, I accept that. I shrug and continue on.
That was also the weekend my landline cratered, and because I have DSL, I was incommunicado through everything but my smartphone. So Sunday morning, while my wife was out at the movies with her friends – I had seen everything at the cinemas I had wanted to see; her friends went to Cabin in the Woods and she went to The Lucky One, that pretty much tells the tale – I finally watched Chushingura.
Chushingura, it seems, is the general term for fictional re-tellings of the tale of The 47 Loyal Ronin, which looms large in the landscape of Japanese culture. In the early 18th century, a corrupt Master of Etiquette is dissatisfied with the bribes offered by one of the younger lords, and goads that lord into attacking him in the Shogun’s palace, a breach so serious the young lord is sentenced to commit seppuku, ritual suicide, and his clan dissolved. His retainers, now all ronin – masterless samurais – bide their time, as retribution against the offended Master is forbidden. Finally, after two years of pretending to be workmen, monks, and in the case of the Chamberlain, a dissolute, drunken womanizer, forgetful of his duty to his dead master – on the second anniversary of the ritual suicide, the remaining 47 gather and attack the household, finally avenging the death of their master.
This is the 1962 version of the story, directed by Hiroshi Inagaki, and I strenuously wished I had been more familiar with the story of the 47 Ronin before I had seen the movie. There are a lot of characters in play throughout, and I’m not just talking about the 47 ronin – wives, hangers-on, courtesans, brothel entertainers, not to mention the crew around the spectacularly corrupt Lord Kira, who feels an existence based entirely on lust and greed will grant him a long life, and that other samurai are fools for their predisposition to die at the slightest provocation. It gets dizzying after a while. Familiar faces like Takashi Shimura helped anchor me, but I still found myself confused as relationships proliferated as the fateful evening approached. Toshiro Mifune, featured prominently on all the advertising materials – especially the ones destined for Western eyes – has only a supporting role, as the lancer Genba Tawaraboshi, who is the hard-drinking badass we always love to see Mifune play.
So curse my blind ignorance, I am unable to make an objective judgment of Chushingura. It is well-made, acted and directed, and on those points alone I rank it highly; though how effective it is as a re-telling of a major legend, I must leave to those more knowledgeable. What it is, I can tell you, is a damned fine snapshot of the layered society in Japan at that time, the grinding rituals of proper etiquette, deference, and station; and the sometimes incredible insanity of the bushido code.
Then that evening, I watched Lolita. The next time I have a weekend like this, I really must find shorter movies.
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drfreex.com 
My main complaint about Mr. Nolan’s films is that they are cold constructs. This works great when the whole point of the film is to discover the character (Memento) or when the character is so well known, exposition is unneeded (Batman).
I felt, while watching The Prestige, that I was deliberately being kept at arm’s length so that I could bask in the cleverness of it all. And yeah, it was really clever. Almost ingenious.
But if I’m not given characters I can **care** about, even if only abstractly, the cleverness is just moves on a chessboard.
When those players are Batman and Joker, yes, I can appreciate the frame. When it’s Batman and Wolverine, it’s so detached that “caring” seems beside the point.
So what does it say about me that you typify two of my favorite directors as “cold”?
Well, “cold” is just one aspect…they’re also piercingly intelligent, genuinely concerned with story and are/were committed to the idea of film as an “experience” rather than pretty pictures and explosions. Even when I don’t care for one of their films (Inception, Prestige, Lolita) they are head and shoulders above the works, of, say [and here he named dozens of current Hollywood directors].
[…] the best comparison in Nolan’s filmography is The Prestige – and that is pretty high praise. If you liked one, you’re going to love the other. […]