Tag Archives: #acting

The Danish Girl

Posted on by

The Danish Girl movie poster

Release: Friday, November 27, 2015 (limited)

[Theater]

Written by: Lucinda Coxon

Directed by: Tom Hooper

The Danish Girl, at least at a glance, looks poised to pull a Dallas Buyers Club and receive recognition, and possibly even win top prizes for both leading categories next February. The field is getting pretty stacked though, and if Leo can just get a word in edgeways . . .

Even though he’s in the lead here, Eddie Redmayne recalls Jared Leto, who last year transformed himself from 30 Seconds to Mars vocalist to Oscar-deserving thespian on the back of his scintillating turn as a transgender prostitute. Even with Leto’s prior roles considered, the story of him becoming Rayon was one of the highlights of 2014. He couldn’t do it alone though as surely he fed off of Matthew McConaughey’s own intensity.

Similarly in The Danish Girl Redmayne is half the picture, entirely dependent upon the chemistry he shares with his Swedish co-star Alicia Vikander, who officially gives Marion Cotillard something to worry about. No longer does the race for first place in the Best Leading Lady poll seem like such a given. Vikander is arguably best in show in a film that will be remembered for heartwarming (and breaking) performances first and story second.

Slight in build but dapper in a suit, Redmayne is introduced as an upstanding but quite shy young man, a talented painter named Einar Wegener whose landscape portraits are fairly highly sought after. He lives in 1920s Copenhagen with his wife of several years, Gerda, herself a painter. The story is very much one that takes place behind closed doors, chronicling Einar’s transition from a man into a woman and becoming one of the earliest recipients of gender reassignment surgery, a journey inspired by Gerda’s insistence her husband stand in temporarily as a model to allow her to finish off a painting. He dons high heels and stockings, pretends to wear a dress and appears altogether comfortable doing so.

The Danish Girl isn’t made with impatient viewers in mind, nor purists who believe biopics have an absolute obligation to recount every single fact as they happened. Over the course of two hours the film massages an ache into a deeply seated pain, transforming a seemingly ordinary, loving marriage into a relationship fraught with doubt and tested to its very limits as Einar begins to more deeply embrace a new identity.

While there is strong focus on the moment, the film isn’t suggesting a simple game of dress-up was the moment the artist first realized something about them was different. Einar simply believes now more than ever he was born a woman and would prefer to identify as such. Gerda, meanwhile, has a difficult time accepting the game is no longer a game. Director Tom Hooper wisely introduces issues that had potentially been ongoing for years, such as the couple’s infertility problems, among other things. Einar adopts the name Lili Elbe to reflect another phase in her own personal evolution.

Lili also experiences chronic physical pain on a monthly basis, prompting her to seek medical advice. Of course, these are more austere times and as far as doctors are concerned, there’s something psychologically wrong with Einar for believing he’s been born a woman. Homosexuality isn’t exactly viewed in a positive light, much less the concept of a man (or a woman for that matter) identifying more strongly as the opposite gender. These circumstances were considered, at best, exotic fantasies generated by feeble or perverted minds. Supporting actors playing doctors may be on the fringe, but they contribute significantly to that sense of intolerance and it can be pretty uncomfortable.

Hooper’s weaving of fact with fiction works very well all things considered — there’s little mention of the couple’s marriage being annulled by Danish courts in light of Wegener’s groundbreaking surgery, and the real Lili underwent four procedures instead of the two the film implies she had. The Danish Girl blends two powerful performances with a keenly observed screenplay that places a premium on dignity and courage. This is an extremely human movie, perhaps presenting more layers to a single person than any other film this year.

The intimacy is palpable, and not just in terms of the performances. Danny Cohen’s camerawork deserves recognition, for he assembles a patchwork of beautiful shots of the natural world, a few the source of inspiration for some of Einar’s work, and life in romantic European cities such as Copenhagen and Paris. The Dresden Municipal Women’s Clinic, where the surgeries were performed, looks like a castle cloaked in thick tree cover. Elegant cinematography expertly parallels the inner beauty the deeply conflicted Girl so desperately seeks.

Indeed, and much like Jean-Marc Vallée’s exploration of the societal stigmas surrounding HIV/AIDS, this is a beautiful production in more ways than one, its committed performances so clearly sympathetic toward their subjects. Structurally sound but not particularly inventive, in its pursuit of the depth and complexity of the things that make people what they are The Danish Girl bears significant weight.

Screen Shot 2015-12-28 at 5.04.20 PM

Recommendation: Another showcase for Eddie Redmayne and Alicia Vikander (who is arguably better than her male co-star), The Danish Girl is putty in the hands of critics. Moving in the way that you deeply care about the fates of all involved. Dazzlingly shot. Some scenes are highly predictable and formulaic but there is no denying this is a winner. (All the same though, Eddie I’m sorry but my allegiance will still probably lie with Leo come February.) 

Rated: R

Running Time: 120 mins.

Quoted: “I’ve only liked a handful of people in my life, and you’ve been two of them.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

Actor Interview: Aussie Paul Eenhoorn talks ‘Land Ho!’

Posted on by

Experienced Aussie actor Paul Eenhoorn was kind enough to take time out of his busy schedule to talk about his most recent role as Colin in last summer’s delightful and breezy buddy-comedy adventure Land Ho! The film tells the story of two former brothers-in-law, Colin and Mitch (Earl Lynn Nelson) who take a much-needed trip to Iceland to escape the humdrum of their daily lives back in the States. He also opens up about his experience in the industry, his move from Australia to Seattle and what it was like filming in Iceland.

Other notable performances of his include the titular lead in Chad Hartigan’s 2013 drama This Is Martin Bonner; as Hugh in the 2011 heist/adventure Rogue Saints; and as a Lead Detective in the controversial 2007 documentary Zoo. He’s known mostly for his affable, charming personas but he has had the opportunity to take a villainous part before and did so in the 2004 family comedy Max Rules.

Getting to visit different parts of the world to tell stories is part of the trade. You went all the way to Iceland to tell this one. I would imagine you enjoy traveling, would that be a fair assessment? Travel is the best but when you’re shooting all you get to see is locations and the road there and back. Most times that is at ungodly hours, but with Iceland we really hauled all over to get to locations. Some of which have untended roads after September so it was rough at time. Still you can’t visit Iceland and not love it.

What was it that caught your eye about this project? (If all it took was the fact you’d be getting to go to this exotic location, I wouldn’t blame you. . .) I wanted to work with Martha Stevens and Aaron Katz, they are the new wave of directors coming up. Plus the production company Gamechanger Films offered me a reasonable deal so how could I say no.

Beyond the distinct personalities, what struck me early on was the camaraderie you and Earl Lynn Nelson shared. It was as though you weren’t given a script and were instead improvising much of the dialogue. In fact, the exchanges were such that I was convinced you two had been life-long friends (despite the script having you play former brothers-in-law). Had you known Nelson before shooting the film or was it more of a ‘learn-on-the-go’ kind of experience? If you’re an actor in film you have to form that connection, with people you don’t know, otherwise it falls flat. I didn’t know Earl Lynn but we spent a weekend shooting the opening scenes and we did  Iceland a few months later . . .

One of the things that really made Land Ho! an enjoyable diversion was the unique and picturesque setting. With principal photography lasting a bit over two weeks and occurring in seven cities, including the capital port city of Reykjavík, I’d imagine the shoot introduced some challenges. What was the experience like? Were there any unique challenges of filming a movie there? It was a twenty day shoot with a couple of days off here and there. The main problem for me was that it was cold all the time. It was fall there. I pulled a muscle in my thigh and I couldn’t work it off. Basically the conditions were rugged and I wasn’t prepared for the cold at all . . .

Tell me a little bit about your character Mitch. Is he anything like you? Colin is introspective which I am at times but I’m more like Mitch in ways except I don’t do anatomy jokes . . . 

You hail from Australia but now are based out of Seattle. Has moving to the States opened up more opportunities for you? Do you have plans to return to Australia at any point? Seattle isn’t L.A. but then that’s good at times too. The quality of life in Seattle is more to my liking, And yes the U.S. offers far more opportunity than Australia I’m sorry to say. I will head back to Australia one day . . . it’s a great place to live.

Seattle is most definitely known for the iconic bands and musicians that call the city their home. I’ve visited a few times myself and have always been fascinated with how much of a cultural melting pot it really is, though I have never stopped to consider its influence on the film industry. Could you describe what it’s like living there as an actor? I’ve shot a lot in Seattle but I had to travel to L.A. to get my first break on Chad Hartigan’s film This Is Martin Bonner. L.A. is the center of the filmmaking universe though Seattle production values are fast catching up. I do other things to make money and I would rather do that close to home base than in L.A.

In the film Earl Lynn Nelson plays a rather outgoing man, a retired doctor looking to keep himself busy in retirement. I understand this role was his very first. What was it like working with him? He seems like a pretty easy guy to get along with. Earl Lynn is very consistent, you know what you’re going to get from him so that made my job easier, if you call shooting any film easy. He did do a few gigs with Martha Stevens before this one.

What was it that got you into acting? Any family influences? Nope. I started shooting television when I was younger, I was in a band too so I always knew I wanted to act. My mom was a ballerina so that may be an influence . . .

What does the future look like for you? Do you have any current projects in the works? We have shot the opening of my next film Pendulum and we will be playing that in L.A. in late October. We are looking for funding. It’s a totally different part from Martin Bonner and Land Ho! Which is a good thing I think. I have not seen the cut but we are doing a cast and crew screening the second week of October.

I would like to thank Mr. Eenhoorn for taking the time out of his schedule to talk to me. Be sure to keep an eye out for Land Ho!, which is now available to stream online or rent through several DVD vendors including RedBox. Meanwhile, I will be seeking out Pendulum in the coming months. 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.imdb.com; Paul Eenhoorn 

American Sniper

Posted on by

american-sniper-poster
Release: Friday, January 16, 2015

[Theater]

Written by: Jason Hall

Directed by: Clint Eastwood

In Dirty Harry’s return to slightly more confident filmmaking, Bradley Cooper is one bad man. I mean, his Chris Kyle is a good man, but a bad . . . ah, never mind.

The Odessa, Texas native is the center of attention in a biopic entrusted to one of the biggest names in the business, but somehow the math just doesn’t add up. Cooper may never have been better, Eastwood never more patriotic, yet American Sniper is a slog and somewhat this. Somehow, following along with Chris as he leaves his family on four separate occasions to go fight against insurgents in Iraq between 1999 and 2008 feels less inspired as it does repetitive. Eastwood’s style here may suit the subject but perhaps it’s the subject that doesn’t really lend itself to major blockbuster filmmaking. Why do I smell a missed opportunity for a heartbreaking documentary here?

There’s another issue at play, one that isn’t necessarily the film’s fault, but absolutely is worth mentioning. American Sniper falls victim to its trailer, a tense two minutes that can’t help but fess up to Eastwood’s most sincere depictions of the kind of pressure that rides on snipers as they determine whether or not to take that shot. I do understand it’s not really fair to judge the film proper on a particularly revealing piece of marketing; after all, one could theoretically ruin their Interstellar experience by watching those clips of Gargantua too many times. But it’s so easy to do just that here, even if there aren’t any black holes in the Middle East. Far be it from me to tell you how to consume your entertainment but if you’ve watched the trailer for American Sniper then you are privy to virtually as much information as those slapping down $10-12 for tickets at the box office.

Eastwood’s directorial touch doesn’t help matters as he provides only a cursory look into the domestic life of an increasingly despondent soldier. A thoroughly masculine figure to begin with, Chris’s former life as a cowboy is halted abruptly by his interest in contributing muscle to the American cause after seeing a story about recent terrorist activity in the Middle East on T.V. He is motivated to the point of signing up for the Navy SEALs, though he is initially rejected. Some indeterminate time later he comes across a gorgeous brunette at a bar. Jason Hall’s script affords a modicum of humanity to this soon-to-be relationship, a level that is somewhat respectable. Sienna Miller would be compelling as housewife Taya but the switching back and forth between Chris’s duties in Iraq and her location in sunny Texas leaves a lot to be desired.

What’s more concerning is that Eastwood’s lazy construction makes mundane the soldier’s return(s) to Iraq. Aside from what’s easily observable — the escalation of violence during each subsequent visit, and the fact that a bounty is put on the head of the most deadly sniper in American history — Tour One looks just like Tour Four. Perhaps that’s how it really is. I have never served; I cannot talk at any great length about that. And I want to be careful in describing how I feel about these sequences as I don’t want to give the impression I don’t respect what multiple tours mean to those who have undergone them. From strictly a creative standpoint, American Sniper wears out its welcome and begins firing blanks much too soon.

Scenes built entirely out of fist-clenching tension, however, do not wear out theirs. And as a corollary, the violence Chris is perpetually surrounded by — and that which understandably upsets Taya the most — is an element Eastwood appears comfortable handling. I guess such is his duty. Reduced in intensity as they may be thanks to the trailers, the hair-raising shoot outs play a large part in defining Chris as a sniper, as a soldier, as a human being. More importantly it gives the film’s version of Chris an obstacle to get over, an enemy if there ever were one. Widely regarded as the “legend” of the Iraq War, his estimated 160 kills via sniping from obscure rooftops function in the film as not simply a plot device but this character’s responsibility to country and to his fellow soldiers. The film does a wonderful job of emphasizing the sniper’s compassion in a time and place where such a quality is rare if existent at all.

It’s the kind of reverence you can easily tie in with Eastwood’s emphasis on fatherhood and the paternal instinct, both evident in his prolific career as a filmmaker in both acting and directorial capacities. It doesn’t factor into American Sniper as much, though the opening scenes featuring Chris with his father together hunting deer in a forest tinged golden from the low angles of the sun’s rays suggest he is still concerned about constructing a layered character study. It’s yet another interesting angle overshadowed by the director’s predilection for predictable story structure.

There’s nothing offensive about the way Clint Eastwood, himself a legend, has put this story together. American Sniper is just not the most interesting version that could have been told, nor is it the most original. Like Sienna Miller in that black nightgown of hers, we wish we could have been shown more. The more testosterone-filled among us anyway.

sammy-sheik-in-american-sniper

3-0Recommendation: Clint Eastwood wears his patriotism on his sleeves and Brad Cooper wears Extra-Large in American Sniper, a very average war film centered around a not-so-average American finding his life’s calling. Between Cooper’s dedication to his character and Eastwood’s devotion to exemplifying courage and obsession in equal measure, the film is not something you should miss if you have served any amount of time overseas (or at home — just not in prison, of course). For everyone else, this is going to be one of the best uses of Redbox/Netflix you’ll have in a while.

Rated: R

Running Time: 132 mins.

Quoted: “I’m ready. I’m ready to come home. I’m ready to come home, baby!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

The November Man

Posted on by

tnm-poster

Release: Wednesday, August 27, 2014

[Theater]

Careful with that trigger finger, Devereux.

The old adage ‘the more things change the more they stay the same’ is likely to surface in several forms here in my explanation as to why I think Pierce Brosnan doesn’t really owe us an explanation for the mess that is The November Man.

After nearly a decade removed from the spy game, the unapologetically good-looking Irishman may have added some gray whisks to his quaff of brown hair, but at the end of the day he’s still getting a job done that needs getting done. Duly aware that time is getting on, Pierce, also operating in a producer capacity, has turned up the intensity and bid adieu to romance in this considerably more aggressive role as Peter Devereux, a ruthless CIA agent who knows how to deliver physical punishment as well as a compelling reason to watch for his next move, even if everything else surrounding him doesn’t.

His latest escapade, based upon the novel There Are No Spies — the seventh book in a series titled The November Man — opens chaotically, as a botched mission in Montenegro leads to his brief retirement after his partner and agent-in-training, David Mason (Luke Bracey) disobeys direct orders and winds up killing an innocent bystander on the streets in a confrontation unnecessarily made public. Such unprofessionalism draws a divide in the ideals between the old-school agent and wide-eyed trainee eager to prove his skill set.

Following the debacle Devereux swears he’s done and takes off for Switzerland to enjoy a quiet life running a coffee shop. Sorry, but pristine Alpine peaks without any of the parleying is a pipe dream for you, pal.

Don’t forget, old habits die hard, especially when you’re this good at being typecast. Even better, when you know you are this good at being typecast. And Brosnan does. When former boss Peter Hanley (Bill Smitrovich) comes knocking, he hardly balks at the task of finding and protecting a fellow CIA operative whose safety becomes jeopardized after exposing secrets about Russian presidential candidate and former Army General Arkady Federov. When she loses her life in an ensuing sequence of conflicting orders that have Hanley ordering Devereux to protect her and CIA Station Chief Perry Weinstein (Will Patton) dispatching David to take her out, a stark idealogical divide forms between both trigger fingers.

Neither expecting the other at opposite ends of the barrel in the aftermath of this second botched op, they flee in opposite directions and the actual narrative, as it were, finally has a chance to get underway. Devereux’s ultimate assignment is to protect a third innocent from destruction at the hands of another vile man. This will be in the form of an Alice Fornier (Olga Kurylenko).

If, by chance, you have reached this point and find your head spinning, you’re likely not alone. There lies a complex web of characters and relationships to explain and not even the film’s up to the task. It can’t prioritize which relationship is more important. Ultimately, few of them are interesting on their own merits. They are helped by a relatively compelling and violent CIA agent coming into contact with them.

We dip in and out of sun-tinged locales often in exciting bursts of action. Roger Donaldson demonstrates his understanding of shooting chase sequences and tension occasionally rises to nearly unbearable levels owed to some interesting camera angles and quick, anxious cutaways. The film teases palm-sweating good fun but never outright offers it as it spends too much time setting up too many characters when it could have limited its periphery easily. A Russian assassin whose personal mission is to wipe out Alice is only one example. (No, you’re not getting another.)

Somewhere along the way Kurylenko becomes entangled in this convoluted scuffle between American and Russian government agencies via a thankless role as the aforementioned Alice, whose history renders her a very important character but whose personality suggests otherwise. The lovely Kurylenko does the best with what she’s given but the end result of seeing her in The November Man inspires only vague recollections of her involvement with Quantum of Solace.

So I’ll say it again: the more things change, the more Pierce stays the same. Despite his character sporting an attitude more befitting of an anti-hero on more than one occasion, at the core there’s still a palpable sense of the actor relishing what he does for a living. I won’t deny the power of his tougher outfit but I just wish there was a way to explain why the script could not be better here. And no, Devereux doesn’t need to offer up anything.

tnm-1

3-0Recommendation: Not the best outing for my boy Brosnan by any means, but this doesn’t rank amongst his worst either. He is undoubtedly why this movie’s going to get rented out (if my screening was any indication, there certainly weren’t many keen on checking it out in theatrical form), and perhaps some may recognize the actor-director pairing from Dante’s Peak. That might be worth something as well, but suffice it to say if you’re expecting the script to improve or likewise the characters from that one to this, you’ll be left more shaken than stirred.

Rated: R

Running Time: 108 mins.

Quoted: “Peter Devereux. You are one bleak motherfucker, you know that? You know what we used to call you? The November Man. Because after you passed through, nothing lived.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com