Monday, December 17, 2018

Bohemian Rhapsody: Nothing Really Matters






Hype is a word we often associate with films. The hype of an impending release date, the hype of the initial critical reception, and even the hype of potential award nominations. Heightened anticipation is a key part of the modern movie experience, especially here in the United States. Bohemian Rhapsody (2018) is a film that some may argue has overstayed its hype. Between the countless years of lingering in development hell and the heated behind the scenes discourse between director Bryan Singer and star Rami Malek, the film stopped becoming about the legacy of an immensely influential band and started to be seen as a glorified cinematic cock-fight. Somewhere in the middle of it, all, fact seceded itself to fiction and believability superseded actuality. Bohemian Rhapsody tells the tale of queer icon Freddie Mercury as he discovered a musical and spiritual kinship with three starving rock n' roll artists working towards their chance of becoming musical champions. It details the highs and lows faced by the band and Mercury as the lust, vanity, and greed within the entertainment business attempted to eat away at the band's very soul like an infection. Of course, in time a very real kind of infection overtook the lead singer himself. The movie is very much a biopic on Mercury and does a fine job of not sanctifying his sometimes questionable artistic and moral choices throughout his time with the band while reminding us all that while Freddie Mercury was quite "out there" so much of what he truly was remained inside himself. While the other band members most definitely play second fiddle, the actors portraying them go to decent lengths to make them three-dimensional dynamic players in this epic tale of superstardom. The concert sequences, many of which are done through psychedelic montages, invoke the wild and liberated spirit that Queen unearthed in the '70s and '80s through their music and performance art. Malek portrays Freddie in all of his flamboyant European charm, though at times the dialogue makes it sound as though Freddie believed himself to be the love child of Jesus Christ and Shakespeare. What is the film's biggest flaw then...

Well, most of it is not remotely true.

While many biopics are forced to take on a revisionists approach to history in order to condense real-life occurrences into a relatively two and half hour timespan, Bohemian Rhapsody toys with the truth so much, one must wonder if the writers simply felt that reality wasn't good enough for a man as bizarrely unique as Freddie Mercury? Facts become fiction without any semblance of reason or justification. Upon research, I found that many of the ways these situations played out, in reality, are far more cinematic than the way they were dramatized for the film. Take Freddie's marriage proposal to Mary- Austin as a small example. In the film, he proposes to her in bed as they enjoy some mushy post-coital chatter while in reality, he proposed on Christmas using a box hidden within several other boxes, his playful demeanor always present even in such a big life moment. This may seem trivial and some of the changes are just that, but the vast alterations begin to add up to such a degree that you can't help but wonder if you paid to see a movie about a legendary band or a film simply "based off" a legendary band. The differences between the two as wide as Freddie's vocal range.

The film's first half is in such a rush to get the boys together and on the road to rock history, it spends little to no time exploring their interpersonal bonds which allowed Queen to blossom into what it became in the long run. In a blink of an eye, they are signed to a record company and we gain "access" to scene after scene illustrating the inception of another of their classic hit songs, in haphazard chronological order I might add. When the film isn't messing with time, it's suffocating under a lack of subtlety for the more delicate themes at play. Freddie's sexuality is treated at times like a bad habit rather than an inherent part of who he was. Throughout the film we are privy to Freddie's intimate life experiences, both real and fictionalized, and yet I found myself still feeling somewhat at arm's length of him as the credits rolled following the grand recreation of their memorable Live Aid performance. I wasn't sure if I got to know Freddie Mercury or just the filmmaker's conception of him. Granted that argument can be made of any biopic, especially when the lead character is long deceased, but the countless falsities at play throughout this film make that assessment feel particularly justified. The film spins reality to such a degree that the conclusions feel irrelevant and you're left feeling undeniable gratitude for Queen and for Freddie, but not for truly compelling and honest cinema. Biopics can do better storytelling than this, it is not about bending the truth but rather finding the dramatic core inside of it and replicating that core on screen. Bohemian Rhapsody succeeds in this at some points, but fails far too often, especially in its third act containing a faux separation/reconciliation of the band prior to Live Aid. Queen will rock you, Freddie is somebody to love and this film a solid dose of radio gaga; entertaining and emphatic in its overstuffed tomfoolery.



Wednesday, October 10, 2018

A Star is Reborn: Decades of Love, Loss and Tradition in Hollywood Cinema
































Since the dawn of the studio system, Hollywood has had an almost obsessive relationship with the love story. It is has found its way into thousands of Hollywood Pictures even before the creation of sound. Love stories tailor themselves to adventures across the amazon, heated courtroom dramas, and animated tales of childish delight. No matter the subject matter, love finds its way through to make some statement about lasting human connections. With the millions of different ways to do it, why would anyone tell a love story twice on the big screen, what about four times? How could one story be revitalized decades apart and still hold potency? A Star is Born (2018) follows in the footsteps of three (technically four if you count the film, What Price Hollywood (1932) which originally inspired the bulk of the story) predecessors that told the story of two unsuspecting lovers born out of talent and promptly destroyed under the very weight of it. Whether it be set in the world of the music industry or show-business, A Star Is Born has always been about two things, ascension, and descent. Many critics and fans of these films have argued that the title A Star is Dying is even more aptly appropriate to describe their narratives. They aren't wrong, for every star born another must implode. Much like every relationship in life, change is inevitable.

Now I've only seen three of the five iterations of this story, having yet to be able to view the original 1937 film starring Judy Gaynor as the titular "star" (nor the film What Price Hollywood which inspired that one) therefore this review will instead focus on discussing the 1954, 1976 and of course the newest 2018 version starring world-renowned pop star Lady Gaga. Directed and co-written by its leading man Bradley Cooper, the latest version of this classic cinema tale finds itself occasionally at war with its source material, eclipsing its predecessors in some parts and mismatching them in others. The movie's faults are almost all forgivable, however, because of its sheer charm and earnest performances from basically every single cast member involved. This is a film that has something to say, despite many films in the past saying things quite similar. This film has a language all of its own which makes it distinct. Intimate close-ups are aplenty throughout the film, allowing us to get up close and personal with these characters in quite a literal way. We see all the sweat and grit which goes into trying to make love work amidst a rough climate of deep passion, career aspirations, and bitter old resentments. When Cooper's film doesn't come off as a live rock concert, it is an intimate thoughtful grandiose drama, hitting familiar notes in exciting and endearing ways.

The Maine Factor


Cooper's film first and foremost places much greater emphasis on the male half of the powerhouse relationship. Jackson Maine is an aging folk/rock singer, famous and fumbled by his life's many misfortunes, including a toxic upbringing and an ongoing medical issue involving his hearing. The 1954 film doesn't dive very deep into the reasons behind famed actor Norman Maine's alcoholism, he's portrayed more as a wreckless Lothario and we equally learn little to nothing about the demons that haunted rock star John - Norman Howard in the 1976 film. Most of their actions, particularly in the second and third acts of their respected films, after they've fallen for the soon to be "star" are attributed to feelings of jealousy and resentment towards her success eclipsing his own. Very little of that jealousy or resentment is present in this new film, though it is hinted at a few times throughout, particularly in a rather heated bathtub argument in the second half. This is no battle of the sexes, but instead a battle between the mind and the self. Maine''s problems began long before he met Lady Gaga's character, Ally, and they would've likely stayed with him for the remainder of his life. The newest version of A Star is Born takes the time to explore the issues of its male lead, rather than just reducing them to mere expositional necessities. It addresses addiction and mental health in ways the former films had failed to even consider implementing into their own stories. The soundtrack even demonstrates the greater focus placed on the male lead in the narrative. Kris Kristofferson performs only about two songs in the 1976 version and both of those are early on in the narrative. We never get to experience his songbook styles or how they evolve due to his experiences before Barbara Streisand dominates the majority of the film's singing duties. Similarly we never actually get to see Norman Maine act in the 1954 film even though that is precisely what he is so famous for when Judy Garland's character Esther first meets him. In the 2018 film, Jackson performs about four to five original songs sprinkled throughout the film's running time. We take the time to see what kind of artist he is before he becomes a mentor to his unconfident ingénue. Ally's eventual growth into a full-fledged singer-songwriter is all the more entrancing when coupled beside Jackson's collapse into depression.

The Soundtrack


Each A Star is Born film features its own unique soundtrack, the songs featured on it are used to follow the two main characters on their journey through love and hardship. The genre in the latest one varies from folk-rock to EDM-Pop and even power balladry. Once again out of the three different versions I've viewed, this newest one takes the win for the most effective use of an overall phenomenally produced soundtrack. While the vocals of Garland and Streisand no doubt belong to those of some of the greatest in American Musical Songbook, the soundtracks to their films highlight vocal gymnastics and melodrama above all else. The songs are truly there to display what they can do but don't always seem very interested in why they do it. The music created by Ally and Jackson (which itself was co-created by Gaga and Cooper in real life) unveils who they are as people, where they've been in life and where they are going. This is what real artists do with their music, they allow it to tell their stories for them. The film is additionally benefited by the two stars choice of performing every musical sequence live rather than lip-synching, which occurs at certain points in both previous versions. The past two films soundtracks are spectacular achievements in their own rights, but fail to complement their film's plots as marvelously as this newest one does. "With One More Look at You" sung in the 1976 version's finale by Streisand is a superb emotionally driven closer and it's exactly what the 1954 film lacked. It's rather odd that the 1954 version is an actual musical and yet features no closing number, regardless Gaga's performance of "I'll Never Love Again" brings on not just tears, but poignant reminders of lives lost and loves unforgotten. It's not just her the song captures, but the very essence of the passionate relationship she was a part of. Gaga might not be able to outshine the acting skills of the two-screen titans preceding her in this title role, in fact, the third act's hefty dramatic requirements expose Gaga's still underdeveloped acting capabilities, but she certainly helps build the bridge in the film between its songs and its story, living comfortably between the two, while the other two women seemingly struggled. Each film's soundtrack did a fine job of displaying the talents of the artists involved and assimilating to the music styles of their respected decades, but Gaga and Cooper's soundtrack simply goes above and beyond to ensure that Ally and Jackson's love will be everlasting, not only visually on the screen, but audibly for generations to come. When you listen to the soundtrack you can truly hear their stories being told.

We Can All Shine Brighter


A Star is Born isn't a revolutionary tale in any of its iterations. It embodies the traditional "girl meets boy, girl loses boy" formula that was engrained in Hollywood even before Gaynor's version came out in 1937. It is a caution tale against drug and alcohol use, against choosing a life of glamorized debauchery over one filled with true companionship and personal gratification. It is a lesson in maintaining one's identity, be it as an artist or just as a human being, while also recognizing the moments in life that call upon us to change ourselves for our own betterment, as well as the betterment of those we care deeply for. If its themes are so traditional and simplistic, why then have filmmakers found a reason to tell its story so many times over the last several decades? Perhaps it is because we never, as a society seem to learn from its mistakes. We continue to choose fame over facts and fanatic adulation over genuine appreciation. We cherish the ones around us but allow them to fall into their dark holes whenever we aren't looking. A Star is Born warns us not to blame ourselves for the person's fall, but to simply keep our eyes open a bit wider, for maybe we can anticipate the next time they'll stumble and can, therefore, be there to catch them. A Star is Born can never be remade with a happy ending, because we'll likely never completely change the cynical views on stardom and artistry that it attempts to reflect critically back onto us. We keep retelling the story ourselves, through real-life tragedies and the inspiring phoenix-like individuals who come out of them stronger and wiser, if not a bit scathed. They say billions of stars are born and die each year within our galaxy, the old making room for the new. As we occupy the space leftover we can only be left to wonder why we fall in love the way we do, with music, with people and with cinema itself.

Sunday, September 16, 2018

Minorities in Movies: Why Diversity Sells




Movies were always made for me, even if I didn't realize it. From a young age, I was the target audience for any number of film genres that studio executives may be interested in presenting my eyeballs with. For starters, I was born white and Hollywood had plenty of white characters to go around, it still does and probably always will. I was born into a middle-class suburban family. My parents worked hard and the fruits of their labors were recognized by my comfortable accommodations, including a sizable house in a respectable Long Island neighborhood. When I went to the movies or watched a film on television I would see many families that reminded me of mine. They lived in similar houses, wore similar clothes, and even interacted in ways I could relate to and find accessible. My accessibility towards most cinematic ventures was as good of a fit as a skeleton key inside a keyhole. The older I got, the more accommodating movies became as the content that I was permitted to view and intellectualize had expanded. I could watch Big White Action Heroes save Pretty White Girls from dangerous situations or watch a steamy love-making scene between two insanely attractive consenting heterosexual Anglo-Saxons. I'm not saying I preferred or even necessarily liked these things, I'm merely acknowledging that they were fully accessible to me due to my race, class, and upbringing.

It is only in the last few years that I've realized just how skewed Hollywood's vision was. How tipped the scales were in "my favor" even though I never asked them to be. It certainly wasn't out of necessity that I watched film and television that reflected the lifestyle that I was living, it was simply because those were the types of films that were available for me. Those were the ones on my radar, a radar so carefully maneuvered by the powers that be in the industry unbeknownst to myself or most movie-goers. Much has changed and evolved since my childhood and much has still remained the same. I believe that we are currently living in the early days of a cinematic revolution of sorts, one that has the potential to break down the walls of gentrification and white-washing that has been so pervasive in mainstream films honestly since Hollywood's very inception. Hollywood Movies are no longer being made just for me, but that also doesn't mean that there is nothing of value that I can take away from watching these films. On the contrary, they have more to teach and show me than many of the films I grew up with and loved, still love to this day. Those films told stories about lives I had already been living or observing around me, these films lift a veil and allow me to enter the lives of others. Upon seeing them I find myself recognizing the immense similarities between our vastly different worlds and more importantly I come to accept and respect the numerous crucial differences. Differences that can divide us if treated poorly by those on the side of the privileged, those like myself. I can relate to the lives and experiences of minorities as told on film, but I can never fully comprehend them or appropriate them into my own life's experiences. Many commercial films that are coming out now are proving that diversity can, in fact, be profitable because movie theater seats are not just filled by people who look like me. They're filled by all different kinds of people, people whose stories and even more simply, whose faces deserve to be recognized and appreciated just as much, perhaps even more so, than my own. Movies should allow us access to previously unexplored lives and cultures, it is no wonder that once Hollywood finally decided to do something to feed this unquenchable thirst, audiences responded in drones. Now that our fellow neighbors are having their chance to shine, we are able to see them for who they really are, and maybe we even find a bit of ourselves in their journeys too. When we all get the spotlight once in a while, our truths and our essences as human beings become illuminated and our minds expand for the better.



Here are some film's I watched recently that helped me recognize the value of diversity onscreen:


1. The BlacKkKlansman (2018)

Based on the true story of a black police officer infiltrating the KKK by being the voice of a white undercover cop in Colorado during the 1970s, Spike Lee's film doesn't have the same pulsating heartbeat that was at play in regards to the social ramifications of injustice explored in his late 80s hit Do the Right Thing (1989). The film does, however, ring undeniable truth to the lasting legacy of racial hatred in America with its many scenes mirroring the attitudes and actions of white supremacists in modern-day to chilling similarity. The film shows that many racists manage to poorly disguise themselves as concerned citizens wishing to maintain a genetic status quo. The absurdity of this argument is so deftly portrayed with a witty retort in this film. The film seems to champion the idea that in order to defeat a racist ideology, blacks and whites must work together to enact change. It delves into the divide at play within the black community itself on the most effective acts of rebellion that should be taking place within society. It doesn't shy away from acknowledging how the work of black men goes often unrewarded, as we see the main character's accomplishment swept under the rug so to speak in the film's final moments. Darkly humorous and often laced with painfully distasteful characters, The BlacKkKlansman provides us with a look at how far we've come, but the real point it is trying to make is that we haven't gone far enough. If we had, the film wouldn't feel as relevant and topical as it does.

2. Crazy Rich Asians (2018)


Nia Vardalos, of My Big Fat Greek Wedding (2002) fame made a very pointed tweet about this film just before its wide release to theaters. She urged people to see it opening weekend and give it huge box office numbers the same way people championed her passion project so many years earlier. Her hope being that the bigger the numbers, the stronger the message would be that films illustrating diverse cultures and individuals have a demand from mainstream audiences and a place among the other so-called "elites" of commercial cinematic excellence. Certainly, Crazy Rich Asians deserves a spot among them as it is a thoroughly entertaining visual feast of gloriously lavished set designs, populated by energetic and engaging characters who seem to be celebrating more than just a wedding, but the victory of inclusion itself. While the film may not have the "quote-ability" of Vardalos's timeless rom-com, it does share its freshness and originality. The film has something more to say than simply "opposites attract" because it illustrates the very obstacles dedicated lovers overcome to be with one another, particularly familial disputes. It is formulaic when needed but this can be forgiven by the sheer joy-itude of it all. Yes, this is the type of cinematic experience that makes you want to make up words just to adequately describe it. You'll find yourselves relating to these people, their struggles and woes, particularly their family problems despite their immense economic wealth. Viewers come to better understand the often stifling constrictions that come with being a part of the Asian culture for both men and women. At the end of the day the film doesn't really judge the culture one way or another, it merely advocates for individual choice. A person must have the autonomy to choose what they dedicate their lives to be it, their lover, their family, their job, or even all the above. True happiness can never be achieved if one doesn't have a hand in carving out their own life path. In Crazy Rich Asians that life path may include a walk down a submerged wedding aisle while a deeply satisfying Elvis cover plays in the background. Go see it, now, please.

3.  Searching (2018)

This film, unlike Crazy Rich Asians, pays very little mind to the ethnicities of its lead characters and that is precisely one of its many grounded achievements. While some films are designed, rightfully so, to champion and highlight a particular culture and its people, other times the casting of minorities in a role without highlighting their cultural differences can be a progressive act in itself. This film is about a man searching for his missing daughter and his actions, most of them anyway, represent the dire distress and agony that a father of any ethnicity would express as a result of such a traumatic event. Yes, there are droplets of Korean culture, including a treasured family recipe, watered throughout but the film is less concerned about pushing ethnic boundaries than it is with exploring cinematic ones. The plot unfolds in such a uniquely visual way and it is the technology itself that is the true star of the film as well as the way the actors and actresses navigate through it in order to communicate and discover the truth for themselves. The film shows that diversity and inclusivity do not have to dominate a narrative, but should instead be naturally infused throughout a feature film to compliment character arc and plot. This is a film that embraces subtly in so many facets of its production, including in the casting and representation of its core characters.

4.  To All The Boys I've Loved Before (2018)

The last film of the four that I watched in this one-month timespan and in all honesty the most underwhelming. That could've been a simple result of internet overhype, however. The plot tells the story of a young high schooler, Laura-Jean whose life is turned upside down when her youngest sister mails out five love letters to five boys Laura-Jean has pinned secretly for throughout her young life. These letters were never meant to be sent and were a form of self-therapy for Laura-Jean, a way she could announce her feelings without really making an announcement at all. Laura-Jean is left to clean up the mess made by these romantic revelations and of course, she falls in love along the way. The film is far from bad but never seems to live up to its premise as we don't get to know all five of the boys very well. Maybe that's for the best though, it is not their story, after all, it's Laura-Jean's and she makes for a delightfully lovable protagonist, both fiery and sweet, a true millennial rom-com girl. She doesn't represent all Vietnamese young girls any more than Crazy Rich Asians represents the lives of typical Singaporeans. The film does, however, positively promote the idea of representing blended families on screen, something future films in any genre should consider doing more often. It should also be noted that the film is based on a book from a female writer and is adapted for the screen by a female director and screenwriter, Susan Johnson and Sofia Alverez. In this film, we find diversity not only in the casting of minorities (albeit only in the central role, the film is mostly whitewashed otherwise) but in the placement of women at the forefront of the behind the scenes production as well. A story about a young woman, from women and accessible to all different kinds of women around the world. This is an achievement in itself.


5. Meditation Park (2017)


This is a last-minute addition as I watched this film while still working on this blog post. Again here we see diversity both on the screen and behind the camera as the film is written and directed by Mina Shum and tells the story of a Chinese family living in Canada. The protagonist, Maria is the 60-year-old matriarch who dedicated her life to her husband, daughter, and son, the latter of whom she is estranged from for many years due to a disagreement he had with his father. Upon privately discovering that her husband is having an affair, she opts not to disclose this knowledge to anyone and instead begins to assert her own personal autonomy into her formerly traditional status as an immigrant housewife. The film is heartfelt and sincere through and through, rarely feeling gimmicky or false and often finds humor in even the most depressing of situations. Sandra Oh gives another career marking performance in the supporting role as Maria's daughter struggling with defining her own identity in the many roles her life has asked her to portray. The film is available on Netflix currently and comes highly recommended from this blogger for anyone interested in a story that blends, culture, tradition, and humor into a well-fitted 94-minute narrative.

In the end, we must all be champions for diversity on the screen if we are to call ourselves true appreciators of the cinematic arts. We must root for those who are still not yet being adequately represented on screen and there are indeed many who still need to be. People with disabilities, Muslims, bisexuals, and trans individuals just to name a diverse few that still have little to no proper representation in mainstream Hollywood Cinema. The movies should always be an opportunity to learn and experience lives yet unlived. How many lives are still out there waiting? How much longer will they have to wait? Don't just ask the question, be the answer, and support minority centered films.

Thursday, July 26, 2018

Mamma Mia: Here We Go Again: My, My, I Could Never Let You Go





I've always believed that most people do not watch movies through one set of eyes. You can't watch a Mission Impossible entry with the same eyes as when you're watching Finding Nemo (2003). There's a mental elasticity that comes with the viewing of different genres of film so that the mind can properly intake the story; it's characters and the world of the film accordingly. I am a believer that film critics must be capable of such mental elasticity if they are to judge and critique the quality of any cinematic productions appropriately. They must be able to put on a set of metaphorical glasses, dependent on the genre and set their expectations to a reasonable degree as the opening credits start to pop onto the screen.

Movie-Musical-Sequels do not have a long and lucrative history. People are still talking, or rather, not talking, about Grease 2 (1982) in 2018. There were talks of a sequel to Hairspray (2007) titled White Lipstick for several years until the plans were ultimately squashed. Therefore there isn't much else to compare Mamma Mia: Here We Go Again (2018) to other than it's richly entertaining predecessor. This film suffered much derision itself among critics early on, though audiences embraced it quite warmly worldwide. Is it the fantastical, bordering on ludicrous plot, the zany hyper-realized characters or is it just the sheer ABBA-ness of it all? Whatever it is, it makes people feel strongly, one way or another, and that means it's worthy of closer inspection and analyzes.

The story of Mamma Mia (2008) is set on the fictional Greek island of Kalokairi. Donna Sheridan (Meryl Streep) operates a hotel atop her beautiful taverna. She has one daughter, Sophie (Amanda Seyfried) who is the true definition of her pride and joy. Sophie is the product of Donna's whirlwind summer romance with one of three handsome (though questionably vocally talented) suitors. There is an American architect Sam (Pierce Brosnan), a British banker Harry (Colin Firth) and a Swedish travel writer Bill (Stellan Skarsgard). The first film unfolds as Sophie invites all three men to her wedding (unbeknownst to her mother) in the hopes of deciphering who her true father is. In the meantime, Donna rekindles her love for Sam and rediscovers her repressed jovial side, her inner "Dancing Queen" if you will. In the end, Donna and Sam fall back in love and marry, Sophie runs off with her fiancé Sky, without actually getting married and Sophie embraces all three men as her fathers. It is a tale of love in many forms, parental, romantic, friendship and is doused in sentimentality almost as much as it's wardrobe is drenched in sequins.


Mamma Mia has been associated with starting the skyrocketing popularity of jukebox musicals with Broadway and Film audiences alike, though hardly anything about it can be called original. The premise of its plot is borrowed from the film Bunoa Sera, Mrs Campbell (1968) and its songs are those of the global megastar 70s pop band, ABBA. How is it then that anyone could enjoy anything about something that is so blatantly plagiaristic? The answer is the presentation.

Mamma Mia presents itself as a story of a life filled with wonder and possibility, alongside woefully careless sexual endeavors. While many of its characters experience heartbreak and sadness at some point, the literal paradise they are living within never dulls or depletes in response to their despair. They remain inside a bubble of unapologetic optimism, a firm belief that life is a song that must be sung-through with the utmost tenacity and vigor until the very last note. It doesn't just present happiness, it insistently invites the audience, be it in a theater or cinema, to become a part of that happiness. This is why the "genre glasses" issue is so imperative in regards to these films. If one watches Mamma Mia (or more importantly its newly released sequel) with the wrong set of eyes, they are likely to be extremely disappointed and even utterly annoyed with what they see. Mamma Mia is not about logic, nor is it about quality. Mamma Mia is simply about the advancement of euphoria throughout all of the experiences life has to offer, both good and bad. After all, isn't that what ABBA was searching for throughout dozens of their hit songs? That everlasting sense of melancholy happiness. A contradiction in itself made possible by the pairing of their lyrics and melodies together. It is in my firm opinion that the sequel reaches that melancholy happiness and does so without apology or timidness.  

Mamma Mia: Here We Go Again may have taken ten years to make, but it picks up only five or so years after the original film ended. We find Sophie supervising a renovation of the Hotel Bella Donna while Sky is away on business in New York City. In the time between the two films, Donna Sheridan has passed away due to undisclosed causes, leaving Sam a widow and Sophie adrift in a crystal blue sea of uncertainty and fear. She wants to make her mother proud, even more so when she discovers that she is pregnant just as her mother was at this time in her young life. The film then intermittently flashes back in time to 1979 to show how Donna came to be the woman she was after graduating college, adventuring across Europe and seducing the likes of three undeniably attractive (though again questionably vocally talented) suitors. The plot still has a sense of carefree euphoria, especially in the early scenes of Donna's youth as her three distinct lovers woo her, but it carries an extra weight of somberness this time around, due to the loss of the hotel's owner and matriarch. Sophie's eventual embracement of motherhood mostly quells this somberness upon learning the true details of her mother's story, as well as the appearance of her long-absent grandmother Ruby, played by the incomparable Goddess of Pop, Cher. While her dialogue is wit-filled and her vocal performance sublime, I feel the film did gloss over her poor relationship with her daughter and the possible regrets she had over never making amends while she was still alive. Cher, a fantastic dramatic actress in her own right, would've pulled this off well had she been given the material. 

The songs featured are of course still that of ABBA but are a blend of timeless tunes used in the first film, alongside lesser-known (though still irresistibly crafted) tracks from the pop band's multilayered discography. The entire ensemble of the original film returns although with considerably less work to do on the musical side of things. At the same time, the new younger cast led by Lily James as Young Donna occupies the majority of the film's running time. James is a true tour-de-force embodying everything Streep made joyously distinct about the role and even managing to put her own stamp on it with her endless optimism and sense of innocent playfulness. She is naughty and nice at the same time, and her free spirit-ness reminds us of just how repressed Donna had truly become when we first met her in the original film.

The cast and many critics have lauded the film for having more of emotional depth to it than the first one, and this is true though sometimes it seems to be mining that depth with insufficient tools. Issues of this are most apparent in the present-day plot where obstacles are overcome simply because things just work themselves out without any real effort from the characters. Sky and Sophie's relationship issues are brushed over simply because he comes back in time for the reopening party and decides not to take a permanent job in NYC, but the reasons for these decisions are never fanned out. It can be argued; perhaps in such a film, they don't have to be. There is inherent goodwill in almost every character in the Mamma Mia films. They leave little room for antagonisms that are non-situational. People don't keep others from their dreams, life just gets in the way, and you must dance and sing around it. Also, the film's dialogue often misses the mark in comparison to the first in both wit and emotionality, especially when exposition must be hashed out with time to spare. The wooing of Donna by a secretly closeted Harry (Hugh Skinner) is particularly painful to watch transpire as is Sophie pretending to has out orders to the hotel staff. The film's emotions are best expressed through musical numbers like the humorously reinvented "Angeleyes" and the heart wrenching "My Love, My Life". 

The Meaning of The Meryl Mystery

Was it scheduling, lack of interest from the actress, creative choice of the filmmakers? Fans of Mamma Mia have been attempting to deduce for months the reasons behind Meryl's lack of presence in the second film. While some answers have been offered up since the film's release by its cast and crew people still don't seem to be satisfied for the most part. Mamma Mia is supposed to be all about satisfaction though and therein lies the problem, a problem that I believe is solved quite beautifully in the film's end credits sequence. Featuring the ensemble decked out in full on 70s disco gear the cast comes together, from both the past and present timelines to perform a rousing rendition of the song "Super Trouper". In it, Ruby, Young Donna and Old Donna take the lead as each cast member finishes the number singing and dancing alongside their opposite self. Maybe I'm overthinking it, perhaps it's just the way my metaphorical "genre glasses" are seeing things, but I found this to be a profound moment of messaging for Mamma Mia as an entity in itself. As we grow up, we change, and parts of ourselves are let go of, others held onto, and it can take a drastic event to occur for us to revaluate ourselves and reconcile who we are, with who we have become. I believe that is what happens to each character during the final song and dance number, they confront their former/future self and reconcile who they were and what they have become now. Why did Donna have to die? I'm not quite sure. Why did ABBA have to break up? Why did I lose my grandmother to Alzheimer's after her ten year battle with it and then lose my family dog, Bella, one week later? We suffer in life because that's just how things are. For every Dancing Queen Moment we have a Knowing Me, Knowing You Meltdown. Mamma Mia 2 attempts to express that sentiment in the brightest way possible. I do not think it is a coincidence that Donna sings the lines; "So I'll be there when you arrive, the sight of you will prove to me I'm still alive..." to her long-enduring lover and husband, Sam Carmichael. Death may be final, but music is eternal. It's what we share with one another as human beings in order to express our emotions and establish connections with those around us. ABBA could formulate a universal connection threaded throughout countless countries across the world thanks to their music. As the two Donna's hug their mother closely, we see a generational rift being mended. Mamma Mia and its sequel remind us that music is an inherent part of the memories we hold dear with the ones we love and care for, as long as that music remains no one and nothing is lost forever, not even a pair of glittery bedazzled boots. That's why Fernando (Andy Garcia in a humorously throw-away supporting role) can hear the drums, why Sam is sending out an SOS, and that's why Sophie is thankful for the music because it's what keeps life going. Mamma Mia is a heartbeat, and its sequel keeps the blood flowing so the audience can dance and jive to their heart's delight for many generations to come.

Mamma Mia: Here We Go Again is not and will never be considered cinematic brilliance. Some may even believe it to be a below-average musical overall. It is, however, an audience worthy entertaining attempt at reinvestigating that undeniable euphoric feeling that came along with watching the first film or seeing the original Broadway play. It makes the world of the characters more complex, even if inconsistencies are found through the weaving of that complexity, such as the questionable timeline between Sophie's conception and adulthood. It may not be lightning in a bottle, but it certainly has a lovable spark thanks to its soundtrack, cast and director Ol Parker. It took ten years to get back to Kalokairi, was the trip worth it? Ask your toe-tapping feet when you go see it in theaters for yourself.




Wednesday, June 6, 2018

Book Club: A Reader's Guide to Poor Comedy


If 2018 is the year of female empowerment, especially in Hollywood, you would imagine that cinema would reflect that on screen in some way or another. I first learned about Book Club (2018) by reading an entertainment magazine some time ago, which showed a photo of the four leading women on set together. The idea of a comedy starring powerhouse actresses Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen was beyond the dreams of any avid movie lover such as myself. Each of these women has expertly carried impeccable films and episodes of television on their backs in the past and continue to do so today. Together they would no doubt be unstoppable and hilarious. Well evidentially in the seats of movie theaters playing Book Club this year, doubt came to breed and breed it did. Book Club is not a flop per se, that would be too simplistic an implication for what has actually occurred here. Book Club is a missed opportunity of epic proportions in a time when female voices have the most to say in the loudest and proudest voices possible, Book Club says so very little in an uninspiring whimper. Age before beauty, but not before substance. 

Much like the reader's guides you find in the back pages of bestseller novels, I have chosen to divide this review into several questions that one may pose to themselves and others after viewing the film.

What are the "Fifty Shades of Problems?"


This film's first major issue comes with the premise that the four female leads select 
Fifty Shades of Grey by E.L James as the next book to read in their monthly book club. Reading the controversial content in the novel inspires them to reinvigorate their various love lives regardless of their ages. The use of the cultural craze of this book, which is already well past it's prime considering the horrendously ridiculous movie trilogy that followed it ended last year, instantly dates the movie in the worst of ways. Book Club will be remembered, if at all, as; "the film where those four big actresses read that trashy book about bondage." Why the writers chose a real-life book for the women to read, particularly a book as derided and unsexy as Fifty Shades of Grey is beyond me or anyone with a rational mind. It's an early example of the film's lazy writing techniques as the screenwriters didn't have the creative wherewithal to create a fictional book series that makes the women reflect on the place of sexuality in their golden years. They unquestionably could have come up with something far more sexy and sophisticated than the source material, a feat anyone with a sufficient talent for writing fan-fiction could easily accomplish. It's fine to want to explore older women's fascination with the Fifty Shades Series, but why do so in such a literal way that completely alienates audiences who aren't familiar with or don't care for the actual source material? In a fitting twist of feminist irony, the women never even state the novel's female protagonist's name (Anastasia) or discuss her sexual liberation. They just go goo goo over Christian Grey, a man so problematic his name should never be uttered on the silver screen again.


Who are these Women? 


Yes, of course, we know the actresses playing the roles of the four leads, but what of the characters themselves? The people the women portray all feel like stock characters from superior parts in their earlier careers. Jane Fonda is a confident, ballbusting industry titan, not unlike her character on 
Grace and Frankie. Candice Bergen is a powerful, no-nonsense judge, eerily similar to the character that made her famous on television in Murphy Brown. Diane Keaton is the cute neurotic she's played more aptly in literally dozens of her older films. Mary Steenburgen is timid and mild-mannered, even sporting an on-screen husband she's been paired with before, Craig T. Nelson. None of their roles feels fleshed out or organic in any shape or form. They play to type in the most derisive of ways. Life-long friends have much more interesting conversations than this bunch, regardless of the topic at hand. Bergen seems to suffer the worst, saddled with a character that is both dry and unsalvageable. While Keaton charms her way through the film and Fonda garners a few laughs from her typical brash humor, Bergen meanders, never quite settling into form. Steenburgen fairs a bit better, but only because she and Nelson have previously explored chemistry. It's not really any of the actresses fault, other than the fact they seemed to have signed on for a project without really considering it's incredibly clichéd and unfunny script. They do their best with what they're given, but first time director and co-writer Bill Holderman can't even manage to create decent chemistry between his four star-studded leads when they appear on the screen at the same time. The film is actually at it's best when the stars are working on their own, relying on old tricks to get them through this salary-chasing snooze fest. When they must perform together, the film's faults surface all too clearly to the top of the wine glass like a cork left adrift. They never congeal into an actual female friend group and therefore never feel authentic. They are representing tropes, not women.


What COULD it have Said?


The film's premise, though slightly absurd, does give way to several important issues being tackled throughout its two-hour running time. It skims the surface of the sexual frustration the comes with aging and briefly touches on issues like maintaining one's independence with rising age. Still, it never does anything of substance with any of this material. It's as if they are boxes being checked off on a list of things to cover in a film aimed at older women rather than just being about older women. It's a shame, but with a moderate box office income and several positive reviews from some kind critics, the silver lining may be that this lackluster feature can give way to more films covering this subject matter with superior skill and added flavor. Still, it's like choking on a bitter Zoloft pill when you think about the nearly unbearable missed opportunities presented in this film with its outstanding ensemble cast and potentially provocative subject matter. The film is like a striptease that never finds the full confidence to take its clothes off and hop into bed.


These women paved the way for millions of others throughout their groundbreaking careers, and perhaps this film is simply an example of them drilling away at the patriarchal cement with continued gusto. A movie like this would likely not have been made years ago and certainly not with this kind of respected cast. Still, both they and the filmmakers dared to give this narrative legs to walk on at a time when women are taking immensely important steps in this world, particularly Hollywood, toward something better. Book Club isn't the promised land, but maybe it's a ho-hum stop along the way.