Classic Film Review: Singin' In The Rain

Singin' In The Rain (1952)
Directed By: Gene Kelly & Stanley Donen
Starring: Gene Kelly, Debbie Reynolds and Donald O'Connor

"Hello. This is a demonstration of a talking picture. Notice, it is a picture of me and I'm talking. Note how my lips and the sound issuing from them are synchronized together in perfect unison."
~Man in Talking Picture Demonstration

For the longest time, whenever I heard the song "Singin' in the Rain" I thought of Malcolm McDowell as Alex DeLarge in A Clockwork Orange. Having seen that film for the first time years ago, I always found the song menacing as a direct result of Stanley Kubrick and Co. Try as I might, I just couldn't picture a happy, smiling, dancing Gene Kelly. I figured the song was "ruined" for me for good.

I eventually saw Singin' in the Rain in a university film course. For some reason, it didn't leave much of an impact. I recently purchased the DVD on a whim and decided to give it a second shot, more than four years after that first initial viewing. I figured I had to be missing something because I've always loved musicals and this is one of the classics -- one of the ones other musicals aspire to be. I'm glad I gave it that second shot because Singin' in the Rain is one of those rare films that makes you smile from start to finish. With a plot in a constant state of motion, it's one of the fastest-paced films I've ever seen.

It's 1927 and Hollywood's golden movie duo, Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen), are threatened with a potentially career-ending situation -- the world's first "talkie", The Jazz Singer, is released to rave reviews and audience accolades. Don fears that his limited acting ability will be revealed if he's required to actually recite dialogue while Lina, his obnoxious co-star, has a high-pitched voice that would grate on anyone's nerves. When Don shares his concerns with his longtime friend, Cosmo Brown (Donald O'Connor) and Kathy Selden (Debbie Reynolds), the woman he loves, they both convince Don to make his next feature (a costume drama set during the French Revolution) a full-out musical to show off Don's talent in singing and dancing. The only problem -- Lina and her voice.

All musicals require a suspension of disbelief, arguably even moreso then some action films. People, sometimes complete strangers, are liable to break out into a perfectly synchronized song and dance, only to resume their every day activities the moment the song is over. If you can sit through the Sharks and Jets duking it out through song and dance in West Side Story, chances are you can just allow yourself to enjoy the way Singin' in the Rain moves the plot forward with music -- and what a fun plot it is!

I've always had a soft spot for Hollywood films that mock or satirize Hollywood (think Sunset Blvd. or All About Eve). It was clever to take an actual event from film history (the 1927 release of the first "talkie", The Jazz Singer) and use it to propel forward a musical about an actor trying to make it in a rapidly changing film industry. As Debbie Reynolds' Kathy tells Don at one point, "The personalities on screen just don't impress me. I mean, they don't talk, they don't act. They just make a lot of dumb show." With the advent of "talkies" the possibilities for film were endless and, back in the those old studio days, when actors were trained to be triple threats (acting, singing, dancing), someone of Don's calibre was bound to prevail. With its witty dialogue, vibrant set pieces and sly winks to real-life Hollywood situations (Lina Lamont as a a thinly veiled Jean Harlow, who had her own real-life struggle from silent films to "talkies" when her unique voice was finally heard), Singin' in the Rain is that Hollywood classic that deserves its praise. All things considered, it has aged remarkably well.

Gene Kelly is incredible to watch -- why I haven't seen more of his work by now is mystery. Here was a Hollywood star who was the complete package: he could act, dance and sing. And not just "with the best of them" ...more often than not he was the best of them. His natural (and completely genuine) charm and charisma carry the film above other musicals with dashing male leads. Kelly had that special extra something that just made him so damn likeable.

The same can be said for Debbie Reynolds, who I haven't seen in many films before. As the young and fresh-faced Kathy, Reynolds is impossibly cute, chipper and can definitely carry a tune. As for Donald O'Connor as Cosmo Brown -- what an incredibly talented dancer. His physical abilities are abnormal -- who knew the human body could run up a wall like that?

The lethal combination of Kelly-Reynolds-O'Connor is a triple threat and Singin' in the Rain benefits largely from their talent and screen presence. And, while not all of the songs are entirely memorable, these three actors manage to make you forget that the song wasn't an instant classic.

Singin' in the Rain was a marvel of cinema when it was first released -- with a heavy emphasis on the use of Technicolour cinematography and vivid production design. It's fitting that a film about the massive changes Hollywood underwent in the good ole' days also benefitted from the use of the latest technologies that were re-vamping Hollywood once again in the 1950s. But, in the end, what really helps Singin' in the Rain soar (along with its technology and actors, of course) is its quick and breezy ability to tell a fun story about movies -- and remind us why we love them so much in the first place.

FINAL GRADE: A

Tim Burton Exhibit in Toronto

I went to the Tim Burton Exhibit which is currently in Toronto at the TIFF Bell Lightbox. I expected to be underwhelmed ...not because I have anything against Burton, but because exhibits sometimes have the tendency to be overrated and low on actual quality content. That wasn't the case this time around, thankfully.

Burton has been one of my favourite directors since childhood. Some of my fondest film memories are of his unique and quirky films. I could recite (and probably still could) every word of Batman (1989). I also loved  Beetlejuice (1988) and Edward Scissorhands (1990). His weird, demented sense of humour and German Expressionist-inspired set pieces were a perfect blend of dark comedy and eerie fantasy.

As I got older I grew a greater appreciation for his art, both in terms of concept and design and lonely and strange central characters. I fell in love with Ed Wood (1994) and found an appreciation for his short films, especially Vincent (1982). Seeing all his script notes, early sketches and clay figurines made me realize that the man is a true auteur and a genuinely talented artist. I only wish his latest films would reflect that talent. Although I loved Sweeney Todd (2007), I've been disappointed in his other more recent films. I want him to get back to the dark, lonely dreamworlds of Edward Scissorhands or even Beetlejuice. Here's hoping he goes back to his roots.

If the exhibit ever makes its way to your city, check it out! There are some real gems in that collection, from costumes (one of Johnny Depp's Edward Scissorhands outfits), set pieces (those creepy musical plastic children from Charlie and the Chocolate Factory) and bits and pieces from his own personal collection (photography stills of his stop-motion characters and, one of my favourite things -- his old high school notebooks and projects). Long live Burton!

My Own Oscar Picks

Every year I do my own personal Oscar picks, just for fun. One of those "I would love to be in charge of the Oscars" type of things.

There are a few films I wanted to see before tomorrow's Academy Awards but wasn't able to get to them on time; therefore I can't include Javier Bardem for Biutiful or Nicole Kidman for Rabbit Hole even though I have a feeling I would have loved both performances and would have included them in my list.

BEST PICTURE
127 Hours
Barney's Version
Black Swan
The King's Speech
Toy Story 3
*My Pick: The King's Speech

BEST DIRECTOR
Darren Aronofsky - Black Swan
Danny Boyle - 127 Hours
David Fincher - The Social Network
Tom Hooper - The King's Speech
David O. Russell - The Fighter
*My Pick: Darren Aronofsky (Black Swan)

BEST ACTOR
Jeff Bridges - True Grit
Colin Firth - The King's Speech
James Franco - 127 Hours
Paul Giamatti - Barney's Version
Ryan Gosling - Blue Valentine
*My Pick: Colin Firth (The King's Speech)

BEST ACTRESS
Annette Bening - The Kids Are All Right
Julianne Moore - The Kids Are All Right
Natalie Portman - Black Swan
Hailee Steinfeld - True Grit
Michelle Williams - Blue Valentine
*My Pick: Natalie Portman (Black Swan)

BEST SUPPORTING ACTOR
Christian Bale - The Fighter
Matt Damon - True Grit
Andrew Garfield - Never Let Me Go
Mark Ruffalo - The Kids Are All Right
Geoffrey Rush - The King's Speech
*My Pick: Christian Bale (The Fighter)

BEST SUPPORTING ACTRESS
Amy Adams - The Fighter
Helena Bonham Carter - The King's Speech
Elle Fanning - Somewhere
Melissa Leo - The Fighter
Rosamund Pike - Barney's Version
*My Pick: Amy Adams (The Fighter)

Movie Review: Blue Valentine

Blue Valentine (2010)
Starring: Ryan Gosling and Michelle Williams
Directed By: Derek Cianfrance

We've all heard marriage statistics thrown around for decades -- 50% of marriages end in divorce, fewer people are getting married nowadays, etc. Blue Valentine examines one couples relationship, and it speaks volumes about just how elusive that type of true love can be sometimes. When the "honeymoon period" is over and real life sets in, can your relationship hold up against everyday burdens and commitments?

In Derek Cianfrance's film we are introduced to Cindy (Michelle Williams) and Dean (Ryan Gosling), four years after the bloom has faded off their relationship. They raise their 4-year-old daughter, Frankie (Faith Wladyka) in a dilapidated-looking house, barely communicating with one another unless it directly involves their child. Dean, a high school dropout who works occasionally as a furniture mover, lounges around the house drinking while the more ambitious Cindy is away at her job as a nurse. As the plot unfolds in "real time," the film is interspersed with flashback scenes showing the young couple as they were early on in their relationship. The stark contrast between then-and-now gives the audience a raw and heartbreaking glimpse into the slow deterioration of a once-loving relationship.

Director Cianfrance has only one prior film credit in his resume. If this film is any indication, he's got a lot of promise as an indie film director. Blue Valentine plays more like a documentary than a conventional film; a gritty look at the erosion between two people who were once in love. Like any great filmmaker, Cianfrance knows exactly which moments in the relationship to highlight in order to illustrate its complexity. He's just an observer of this fragile relationship, much like the audience. The film never suggests that the behaviour of its two lead characters is wrong. They just are the way that they are -- and that makes it all the more believable. Both are, inherently, good people who want to do the right thing. They just aren't good together, necessarily.

Cindy and Dean are rich and fully-realized characters. Both of their good and bad qualities are on display. However, these two characters wouldn't be half as fascinating as they are if it weren't for the performances of Michelle Williams and Ryan Gosling, two of the best actors of their generation. For the sake of realism, Williams and Gosling lived together during filming in order to properly explore the highs and lows that would come with sharing a home with a partner. That dedication to character development and performance is admirable and it pays off in the completed film. Williams and Gosling have undeniable chemistry, whether they are laughing or arguing. Although Williams earned a much-deserved Best Actress nomination for her performance, Gosling should have been nominated as well. Blue Valentine is such a success at creating an atmosphere of both love and tension because of both of the leads. One wouldn't have worked as well without the other.

When Cindy and Dean meet while Cindy is still in medical school, it's clear from the start that their personalities are polar opposites. Ambitious, strong and smart, it's hard to believe, at first, that Cindy would fall for someone like Dean -- a slacker-type who refuses to grow up and carries around a ukulele as a sad reminder of the big dreams he once had about being an artist. However, Cindy's messy home life and irritating jock boyfriend drive her right into Dean's arms -- and his charm and willingness to do anything for her eventually wins Cindy over. When a sudden turn of events throws them even further into a very adult situation, Cindy and Dean dive in head-first without thinking of the repercussions or whether or not they could make their new relationship work. But that's what happens when you suddenly find yourself head-over-heels in love -- you lose focus of your initial goals and ambitions. Hindsight is 20/20, something that proves true to Dean and, especially, Cindy four years down the road.

What makes Blue Valentine so refreshingly honest and complex is that your find yourself rooting for both of them, only you don't really know how or why. Do you root for them to stay together and work it out? Or do you root for them to come to some sort of understanding and part ways while still sharing custody of young Frankie? Regardless of which you might prefer, you just don't want them to fight anymore and you feel sympathy for both of their situations.

Blue Valentine asks you to consider why something that started off so wonderfully can end up in heartbreak and anger. It's a question worth considering and it's something we all have to deal with at some point in our lives. If you are looking for answers, the film doesn't provide any, but that doesn't make it any less powerful or effective.

FINAL GRADE: A-

Movie Review: The Social Network

The Social Network (2010)
Starring: Jesse Eisenberg, Andrew Garfield, Armie Hammer and Justin Timberlake
Directed By: David Fincher

Yes, it has taken me this long to see The Social Network. For the record, I love David Fincher and the fact that he has Aaron Sorkin as his screenwriter makes the film a force to be reckoned with in both the directing and screenplay departments. That's a lethal combo of Hollywood talent. So, why did I only watch The Social Network for the first time last weekend? Because I had a complete lack of interest in watching a movie about the founder of Facebook. I initially thought it was too soon to have a movie about Mark Zuckerberg and the trailer looked dull as tombs.

Set in 2003-04, The Social Network follows the steady rise of Harvard student and computer programming genius, Mark Zuckerberg (Jesse Eisenberg), as he launches a social media revolution within the small confines of his dorm room. As he quickly became America's youngest billionaire, two simultaneous lawsuits against Zuckerberg arise from his former best friend, Eduardo Saverin (Andrew Garfield) and two former business partners and fellow Harvard students, the Winklevoss twins, Cameron and Tyler (both played by Armie Hammer). Both parties claimed Zuckerberg conned them out of money and stole their idea, respectively. Zuckerberg further rankles his former colleagues by befriending and partnering with the cocky co-inventor of Napster, Sean Parker (Justin Timberlake).

Fincher and Sorkin provide ample evidence as to why a movie about Zuckerberg at this specific time is important on many levels. With the world quickly becoming a place where people more often interact with one another using digital technology instead of personal interactions, The Social Network is a timely reminder that even with the advent of Facebook and Twitter obscuring our "confrontations," people still utilize their baser instincts through any means possible. Only now, we have a screen to hide behind. And the screen Zuckerberg hides behind is his genius and his debute of Facebook. When forced to come face-to-face with both of the lawsuits, Zuckerberg clams up and only his arrogant zingers are heard. He expresses boredom with the proceedings, giving off the impression that'd rather be alone in his dark room, improving Facebook. Here's a young man with so few friends that the only way he understands basic human interaction is through a computer screen.

With his "Friend" count on a steady rise on his Facebook profile, Zuckerberg ultimately betrays the one and only true friend he actually had in real life -- Eduardo. Zuckerberg's indifference towards the Winklevoss twins and their claims makes him unlikeable, but his downright cruel treatment of Eduardo is what really sets the audience against him, especially considering it was Eduardo's $18,000 that helped Zuckerberg launch Facebook in the first place. His ultimate act of betrayal against someone like Eduardo, a true gentleman and loyal friend, is made all the more shocking by the fact that it actually happened.

As Zuckerberg, Eisenberg is appropriately arrogant, aggravating and hard to decipher. You never really know what is going on inside his head, although his rumpled attire and ever-present flip-flops suggest someone both pretentious and indifferent to his legal woes. Eisenberg delivers Sorkin's red-hot one liners with both lightning speed and a dark, dry sense of humour. He's smarter than you will ever be and he's not afraid to let you know it. While Eisenberg delivers a solid performance, I still found his portrayal of Zuckerberg to be dangerously close to every other role I've seen him play. I may be in the minority, but I wasn't wowed by Eisenberg in The Social Network. I still think he has a ways to go before he can break out of that smart ass geek man-child role.

It's the supporting cast that really keeps this film afloat. If not for Garfield as Eduardo or Hammer as the Winklevoss twins, the film would have sunk under the weight of extremely unlikeable, spoiled university students. These three characters are the only likeable people in the entire film -- and their decisions to sue Zuckerberg are more than understandable. Garfield, in particular, is excellent. Coming off his wonderful and underrated performance in Never Let Me Go (for which he should have received a Best Supporting Actor nomination), Garfield proves that he's no one-trick pony. As Eduardo, he delivers an understated, nuanced performance and he earns audience sympathy because of both his charm and his ability to effectively convey his bruised feelings after Zuckerberg's betrayal. Here's an actor that Hollywood should keep a close eye on.

Hammer pulls off the duel role of the Winklevoss twins so perfectly, that the majority of the audience (myself included) thought it was actually two people -- real life twin actors. Hammer's ability to create two very different personalities and fool the audience into thinking there are actually two actors on the screen in no easy task. As the supremely unlikeable and irritating Sean Parker, Timberlake proves he can more than hold his own in a big Hollywood film. While not the strongest link in the film, Timberlake has an undeniable screen presence that could turn into something really great one day.

The Social Network is a smart film, thanks to its excellent script and solid performances. The washed-out and grainy visuals that are Fincher's trademark add a dark animosity to the whole proceedings. It's a well-made and timely film. Although not my favourite film of 2010 (I felt it to be a tad overrated and it dragged in some spots), The Social Network is still an important and relevant film. Although its brutal depiction of Zuckerberg likely didn't do the real man any favours, The Social Network is an epic tale of ego and betrayal for today's fast-paced digital age.

FINAL GRADE: B+

Movie Review: Winter's Bone

Winter's Bone (2010)
Directed By: Debra Granik
Starring: Jennifer Lawrence and John Hawkes

This Oscar-nominated film has been on the indie circuit for months, touted as a little gem that audiences should make a point of watching. The fact that it was remembered at this years Academy Awards (for Best Picture, Best Actress and Best Supporting Actor) was deemed a testament to its quality. Word-of-mouth and film festival accolades kept up the momentum of Debra Granik's Winter's Bone. 


Set in the Ozark Mountains, 17-year-old Ree Dolly (Jennifer Lawrence) must track down her drug-addicted father in order to save the family home. Having posted the family house as collateral for his bail, but nowhere to be found, Ree's father is rumoured to have turned snitch, turning in both his fellow drug dealers and customers to the police. As a result, Ree is met with resistance and violence at every turn as she questions the locals about the whereabouts of her father. Her uncle Teardrop (John Hawkes) steps up to help her in her quest, while also fearing for his own life as well.

The plot is simplistic in tone and structure. It plays it completely straight-forward: what you see is what you get. Granik provides a documentary-style raw quality, using both intimate camera angles and wider shots that allow the audience to see the full extent of poverty and hardship one must endure when living in the Ozarks. In terms of visuals, Winter's Bone has that grainy, blue-hued quality often found in films depicting hardship in poor living conditions and it works well. The frame is filled with discarded trash, broken toys, dirty children and abandoned houses. Nothing is held back. Living there is not easy -- for anyone.

I would imagine that few people in the audience would be able to relate to such a rough-around-the-edges lifestyle, yet nothing about the film allows you to try to understand it or see humanity in it. With the exception of Ree, no one is likeable or even remotely relatable. It feels so very strange and foreign.

Going into Winter's Bone, I expected a film along the lines of True Grit: young girl on a family-related quest and accompanied by an older male. However, very little actually happens in Winter's Bone. Instead of travelling great distances and learning about her strength and independence as a young woman forced to raise her siblings alone, Ree simply goes door-to-door in her neighbouring area. She meets violent thugs and resentful women who all proceed to push her around. When her father's fate is finally revealed to her, Ree doesn't deal with the emotional repercussions. The revelation is dealt with swiftly (albeit somewhat disturbingly), before moving on to the next scene. What have we learned, other than that living in the Ozark Mountains is tough and probably not highly recommended?

This isn't like Lost in Translation, a "film about nothing" that was, on the contrary, quite powerful and lead by two compelling characters. Lost in Translation was actually about quite a lot. Winter's Bone, on the other hand, truly felt like it wasn't about anything. In fact, the only scene that I felt touched a raw nerve was the scene where Ree tries to enlist in the army simply so that she can collect the $40,000 entry reward. She just wants to save her house and feed her younger siblings. She innocently thought she'd be allowed to take her brother and sister with her to an army reserve to train. It's a heartbreaking scene that illustrates how the military can prey on the young and poor to fight their nations' battles. But, this was only one scene and I was left feeling like the rest of film was empty.

Lawrence and Hawkes were both strong in their roles as Ree and Teardrop, respectively, but I would argue that neither are worthy of an Oscar nomination. There were far more powerful and memorable performances this year that were neglected and I couldn't help feeling like their nominations were a bit of a waste. Both are great actors, especially Hawkes, but perhaps they will be in a better film one day that is more worthy of their talents.

Overall, I was left confused as to all the hype surrounding Winter's Bone. I found it average and, ultimately, pointless. The minute the end credits appeared, I thought, 'That was it?'  Don't fall for all the accolades, this one is a bit of a dud.

FINAL GRADE: C+

30 Day Movie Meme: Day 19

Day 19 : FAVOURITE FILM FROM YOUR FAVOURITE ACTOR AND ACTRESS

Marlon Brando in The Godfather (1972)

This wasn't a hard decision, seeing as The Godfather is both my favourite film and the movie that first introduced me to Marlon Brando. I was a late bloomer, having only seen the film for the first time in 2004, the year of Brando's death. I credit the film, and Brando's performance, with jump-starting my classic film viewing binge for the last six (almost seven) years. It was the first time I realized how remarkable a film can be and how powerful a person's performance. On those occasions when both the film and lead actor are equally worthy of each other, it can solidify a viewer's love for film, as it did mine.

Members of the Mafia don't have my sympathy. They ensure, through their violence and dominance, that corruption will endure. The Mafia wipe out those, big or small, who stand in their way or offend their family's honour. With Francis Ford Coppola's groundbreaking direction and Brando's iconic and influential performance, The Godfather and the character of Don Vito Corleone remain compelling examples of what a thoughtful script and an effective performance can do for a film about an illegal underground operation that maims and kills.

I don't have a lot of love for Michael Corleone because he becomes everything his father was not (but I love Al Pacino in the role!). Vito is a different story. Coppola and Brando managed to convey the life regrets of an aging Don; a once indomitable man who now fears the old adage "the sins of the father are to be laid upon the children." He slowly becomes a broken man as he loses one child ("Look what they did to my boy."), only to have the other follow in his blood-soaked footsteps.

Bette Davis in Whatever Happened to Baby Jane? (1962)

My mom showed this film to my sister and I when we were children. I was probably 10 or 11, at the most. The fact that my mom managed to make two young girls watch a black and white film from the 1960s was a remarkable feat in and of itself, made all the more incredible by the fact that we loved the film so much we'd watch in often enough to recite dialogue. While this isn't necessarily the best Davis film (that would probably go to All About Eve or even Now, Voyager), it's my absolute favourite. Not only was it my introduction to Davis, much like The Godfather introduced me to Brando, but her performance is probably one of my favourites, ever.

Whatever Happened to Baby Jane? is an odd little film, part-horror and part-camp. You don't know whether to laugh or cringe and the fact that it can consistently make you do both is a big part of why I love this film so much. Joan Crawford is wonderful as the wheelchair-bound Blanche, older sister to former child star, Jane (Bette Davis). But make no mistake, this is Davis' film and her performance is outrageous and over-the-top. Those might sound like bad qualities in a performance, but who wants subtlety when you have Davis in your film? She's perfect as the off-her-rocker, crazy-jealous former star who wants nothing more than to regain the glory days of the fleeting fame she experienced as a child.

My favourite scene also conveys the internal conflict of this aging beauty: Jane starts singing a song from her youth she once sang at the peak of her fame. Wearing a dress that is identical to the one adorning the doll version of her younger self, Jane's child-like nature comes through, only to come to an abrupt halt when she looks in the mirror and comes face-to-face with mortality and the passage of time.