$6 Marcus Special – Page 4

The Green Knight

What follows is a guest post from the Good Doctor himself. For a Stoopid American, he sure knows a lot about English literature!

The Gawain doctor is in—and like most doctors, he’s running a little behind.

I should probably start with the patient’s question, which was about how faithful Sir Gawain and the Green Knight is to the 14^th-Century poem of the same name. It’s not particularly faithful, but since we’re not 14^th-Century readers, that’s not necessarily a bad thing. It is deeply engaged with the original poem in ways that are probably more interesting than would be the case in a more direct adaptation. Knowing the poem will give you a framework and additional material to think about, but it won’t “explain” the film or leave you with nothing to do but listen to some English professor carping about what the director misunderstood or didn’t get right.

The original poem explores the themes of courtesy and mirth, reflecting on how a society genuinely inspired by the medieval Christian understanding of those virtues might operate (and on how the actual medieval world falls short). David Lowery’s movie has almost no mirth, and courtesy always turns out to be a deceptive mask (as it sometimes is in the original as well). It feels more like the world of Beowulf or Game of Thrones than the refined and civilized world of the movie’s source material.

Fittingly, Lowery’s Sir Gawain is a flawed everyman rather than an innocent embodiment of courtesy. He has a hooker-with-a-heart-of-gold girlfriend, and his drunken excess is always set in a brothel or a tavern to distinguish it from the equally-inebriated, Christian-sanctioned mirth of the original poem. I think this revision is probably designed to make Gawain a relatable character, allowing modern film-goers to identify with his trials and tribulations over the course of the film, in much the way that medieval readers were invited to identify with the courteous but inexperienced Gawain of the poem.

At the same time, Lowery nicely captures the sense in the original poem that things are rarely as simple as they seem, and that forces at the edge of our understanding—if not entirely beyond it—are at work shaping the course of events and giving them meaning. His approach is more in the form of a fever dream than the subtle and teasing allegorical undertone of the original poem, but it feels properly medieval in its rejection of naturalist or realistic plot in favor of symbolic or allegorical meaning.

There are definitely easter eggs for readers of the original poem. There is a brief mention of the five virtues, an important set piece from the original poem in which Sir Gawain’s shield is allegorized for its “endless knot” pentangle front and painting of Mary inside. When that shield is cracked and destroyed in the opening episode of his journey, it confirms what you had probably already guessed about how far those medieval virtues would get you in the movie’s world.

The film also follows the basic structure of the original poem: the Green Knight’s visit to Arthur’s court, fast-forwarding to Gawain’s departure a year later, a Christmas over-nighter at a mysterious castle, and a final conclusion of Sir Gawain’s “game” with the Green Knight. Readers familiar with the poem will find significant resonances with the critically important castle episode immediately prior to that final encounter, and may be particularly interested in the decision to cast the same actress as the hooker-with-the-heart-of-gold and the lady of the house.

The final confrontation with the Green Knight is as confusing and counter-intuitive as in the original, but works to a different end. My own reading is that, where the original invites the recognition of our fallen nature in even the most virtuous of Christian heroes, Lowery is more interested in revealing the systemic injustice of patriarchy. Ironically, Lowery’s Gawain must pass his test if he is to succeed, whereas the 14^th-Century Gawain can become a hero despite his all-too-human failings. But there is plenty of material (friendly robbers, lady ghosts, talking foxes, earth giants) to fuel other interpretations, which is one of the things that makes this movie so rewarding.

If you can figure out what those creepy giants are up to, you’re a smarter reader than I am. Len tells me that they’re Czechoslovakian anime, and who am I to disagree?

The Green Knight

We rallied the troops and hit The Green Knight on opening night, the new cinematic adaptation of the classic 14th-century poem, “Sir Gawain and the Green Knight.” So the big question you are asking, I’m certain, is whether the film is faithful to the poem?

And my answer, of course, is that you are asking the wrong guy.

There is so much about this movie that I don’t have answers to, starting with who is this Green Knight? Is it the rocky, green-tinged shrub guy, or is it the inexperienced Gawain himself? Does his mother actually like him? Is she a lady or is she a tramp? What do you think happened to that little guy? And shouldn’t King Arthur be perhaps just a little more buff?

So L&D called a doctor for this emergency. Not an M.D., of course, but the type of doctor with command of lyric poetry and pop culture (!). So keep an eye on this space.

Meanwhile, a few of my unvarnished observations: Firstly, this is really great entertainment. Great story, great acting, great intrigue, great fun. It is not Hollywood fare in that you can’t really see where this one is going. And it is not Hollywood fare in that once you get where this one is going, it is unlikely you will be able to sort it out neatly. Yes, there is magic and there are spirits and there are even a handful of mushrooms for you and your handsome friend, so that doesn’t add to the clarity. But my advice to anyone overwhelmed by mushrooms, as always, is to stay put and see what happens.

Secondly, you should see this before it gets displaced by all of the (would-be) August blockbusters. Ugh. If it sticks around, I will see it again. Grab a friend and go.

And, finally, as we were watching, we started a running list of films that this one draws upon, including (but not limited to), Monty Python and the Holy Grail, Fantastic Planet, Midsommar, The Last Temptation of Christ, Phantom Thread, Cruella, Guardians of the Galaxy (I or II), and I’m sure this list will continue to grow.

Big ups from the entire crowd. It’s highly likely you will find this on the year-end list…

One Year Hence.

Old

Approximate Taco Bell Drive-Thru Line, 9:58 p.m., July 22, 2021

If you’ve seen the previews to the new M. Night Shyamalan feature, Old, then you pretty much know how the movie is going to unfold. There are some metaphors about the existential dread of aging, not particularly good ones, and some not terribly well fleshed-out antagonists. The beach is lovely, though. And although you know how it unfolds, what actually happens will perhaps surprise you.

The ending wraps things up in a jiff!

This is not must see material, but if you must see a movie, you might consider this one. The summer release schedule has seemingly hit the point of tedious high-budget action films, and spooky would-be horror films. That would perhaps explain a rather full theater on opening night, but my guess is that the legs of this release are not long.

Heading over in the pre-10 p.m. hour, I did note that the Taco Bell sign was not illuminated. Yet, cars at the drive thru snaked well out of the parking lot and into the street. The tension between ridiculously low-priced fast food and the capacity to staff a restaurant that offers ridiculously low-priced fast food remains strong in the Fox Valley.

An Origin Ride

Black Widow is fun ride. Maybe like the new riverboat movie, Jungle Cruise, it will become an actual ride at Disneyland. But unlike that ride, I mean movie, it wasn’t a ride first. In any case, Black Widow boasts strong leading performances by Scarlett Johansson, Florence Pugh, Rachel Weisz and David Harbour (of Stranger Things fame) and excellent action. The story includes women who kick ass all over the place and the highest caliber production value — except for the scene with the jail and even the avalanche stolen from War for the Planet of the Apes. They could have tried harder there.

But it’s one of those kick up your feet, eat your popcorn, turn off your brain blockbuster summer movies. Another 200 million plus budget movie that will return over 500 million most likely. And it needs to. There were more plasterers listed in the credits than…than…you get it, they hired plasterers.

This film did have a heart, did deal with family dynamics, with ethics and loyalty, with friendship. And had a sense of humor. All those good things. So it delivered on what you would expect, massive explosions for example and then some. Also, it’s simultaneously streaming on Disney+ but it’s a big movie that deserves a big screen.

Cruella

Did you hear L&D are back?!?

Well, you might be the first to hear, because the Marcus Theater employees didn’t recognize us, and they didn’t hold the movie for us, either. Our preferred theater generally runs 20 minutes worth of preliminaries, so the movie starts roughly 21 minutes after the posted time as L&D are settling in; but in this post-Covid world, evidently, they sometimes cut the trailers short for the late movies so the staff can get out a few minutes early. So we missed the previews and whatever would-be hilarity Greg Marcus is bringing these days, and also missed the opening opening of the movie.

That said, we probably missed a lot of other stuff, too. This movie is sensory overload, for sure, in a good way. Early in the movie they were doing this blur tactic on moving camera shots that I couldn’t quite get accustomed to. By mid-movie I was thinking we were sitting too close to the screen because it was hard to keep track of everything going on. There was explosive color, lots of colors, lots of colors moving across the screen in every direction, more pixels than your brain could ever hope to handle.

And a lot of black and white, too, of course. The most colorful black and white you are ever likely to see.

Although it’s a lot of work watching this, the audio helps a lot. The selections set or match the mood of the scenes pretty well, and when old vinyl doesn’t suffice, it does a nice job of making its own. My conjecture is that the music complements the visuals, allowing your brain to make sense of all that’s up on screen. I did turn on the soundtrack afterwards, as L told you I would, but I think that unlike Rushmore or Pulp Fiction or Baby Driver, this one doesn’t seem to keep my interest without the film rolling. Possibly because unlike those other movies, this is more of a (really) fun-to-watch-at-the-theater movie for me, and not a serious candidate for my attention going forward. Who knows?

Certainly I didn’t know much about this moving going in,* just that it’s Disney and it’s the backstory for Cruella, sure. Even so, it is clear that the primary challenge for the writers is that Emma Stone is so awesome that you just have to love her, and she’s sure easy to love as Estella, but they can’t quite figure out how to turn her into pure evil. Or, more likely, they just can’t bring themselves to do it. I don’t know the actual 101 Dalmatians story, but I am guessing the original Cruella isn’t a sympathetic, misunderstood genius; in this origin story, Cruella is the heroine, that much is for sure.

At any rate, Disney movies don’t get too much better than this. The soundtrack keeps things moving along. The set pieces are generally fun, sort of like if Wes Andersen had a $100 zillion dollar budget and ordered up costumes and materials for three or four movies, and then Disney kicked him out and put in its own people. That’s not quite accurate, but certainly a starting point for discussion. The supporting actors were very good, dogs watching footy made me lol, the heist scenes were generally solid (if a bit overdone), the plot was mostly non-obvious, good fun all around. And after 60 hours of productions featuring lions mauling and being mauled, superheroes killing and being killed, Jedis behaving badly, and full-scale intergalactic warfare, Disney finally got around to showing blood in one of its films.

And what a great punchline that was!

So, see Cruella, you will like it. And, if not, at least you will like the soundtrack.

Also, watch this space for potential curling and National Rugby League updates. L&D is back in business.

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*Taco Bell appeared to be closed on the way by, so the usually reliable TBI was not available. On the way back it still appeared to be closed, though there was a pretty good queue at the drive thru window. It’s a great big world.

Cruella Duella

As the Assistant Directors like to say after lunch on set: “We’re Baaaack!, We’re Baaaack!, We’re Baaaack!”

But hopefully you’re happier to hear that than the crew. …We are.

Cruella stars Emma Stone who we’ve seen convincingly blast zombies, work her way up the royal hierarchy and dance on LA freeways. In this role she kicks ass and takes no prisoners (sans three Dalmatians). One of the best things I can say about this movie is that it almost —almost!— doesn’t feel like a an overproduced Disney picture. To give you an idea, the budget on this production is larger than the GDP of several nations. Yes, they are all small Pacific island nations but nations with a seat at the UN nevertheless. At one point, a great daybreak shot with Cruella jetting on a scooter she just jacked, the film almost takes on the flavor of the DC Comics universe (which is owned by Time-Warner who is owned by AT&T, not Disney). And Emma Stone is so good (I refuse to gush about her like I always do). She simply elevates any film she is in. She brings it. I truly wonder what role she would love to play if given the opportunity. Maybe it will be the next movie she produces.

So it feels like a pretty grown-up film, for a kids film. The production value is absolutely off the charts. And an army of people did amazing work on this technically flawless show.

There are a few cool story twists. One in particular that I won’t name involves things that fly. And there is also a great supporting acting. In particular the performance of Paul Walter Hauser who also shined in Clint Eastwood’s “Richard Jewell”. Emma Thompson held her own as Cruella’s foil. The casting and performances were top-notch across-the-board.

The soundtrack was amazing. I think it may be the best soundtrack I’ve ever heard in a movie, with plenty of deep tracks from the likes of Queen, Nina Simone and Tina Turner. At least the best since Baby Driver or Guardians of the Galaxy Vol 2. D turned to me and said he would be playing the soundtrack at work tomorrow.

Ultimately this film is all about style, StYlE. STYLE!!! —And it does that well. The plot is absurd and predictable but there are also enough cool twists to keep you interested. Overall, Cruella was an entertaining, check your brain at the door movie and a lot of fun.

Uncut Gems

I wish they would have cut it.

It felt twice as long as Gone with the Wind with a tenth of the integrity and interest. I feel somehow personally disappointed by Adam Sandler, not like I know him, but I did have a late night dinner at the Denny’s on Sunset Blvd and he was sitting next to me. He seemed like a great guy. Now this. Who green lights these things for their clients? I just can’t believe Sandler thought this was a good idea.

And Judd Hirsch. Why? If you are interested in climbing a mountain of stereotypes then this film is a great first step in your journey.

Not to mention the fact that there is not so much as even an anti-hero. There is a no hero here. And there is a simple thematic note that is delivered for hours and hours. The film is essentially a cheap card trick, similar to Joker and Midsommar. Look, says the director, “I can make you feel uncomfortable, on edge and ill for a very long time. Isn’t this a cool trick.?”

No. No it’s not.

In general, the film is uneven. There are scenes with characters that go nowhere, serve no purpose. Simple dead ends. And whichever reviewer said that this was Adam Sandler’s greatest role never saw Punch-Drunk Love plus whatever other character or role he has ever played. And finally, what the hell executive producer Martin Scorsese, I’m still not sure why you stood up for that rat fink Kazan at the Oscars but producing this really isn’t forgivable. Marty, stick to preserving movies from Africa, that’s something you can actually be proud of. This film should be forgotten as soon as possible. —If only I could erase it from my brain.

Richard Jewell

I was mesmerized by the performances and by this standard alone I recommend Richard Jewell. It’s satisfying to see a film that can rely and succeed almost entirely on the great work of its actors. Richard Jewell boasts some of the best actors in the world including Cathy Bates and Sam Rockwell, laying their talents and hearts on the line for us.

I didn’t know the story of Richard Jewell or any of the details in the 1996 Summer Olympic bombing in Atlanta, so that was intriguing in and of itself. Furthermore the film is pertinent in terms of the FBIs’ abuse of power. When a secret court system like one we have here in the U.S., called FISA, calls you out in the press, like it did to the FBI this week, you know you have some issues. But hasn’t the FBI always had issues? How about the executive branch and Congress? Another great story from this week that got very little attention was how since at least 2003 the government has lied about how the war in Vietnam, I mean Afghanistan has been going. The film does not let the press off the hook either. Though the director of this film famously married and then divorced a reporter so who knows, maybe he has a personal axe to grind? One of the main takeaways from Richard Jewell is how little things have changed in U.S. society in the past 23 years. This is the system we live in and this is our human nature, so only the players change as the situations must by and large remain relatively the same. It’s nevertheless a cautionary tale worth heeding.

LnD Playing Catch Up

Life has gotten in the way of writing for LnD but as a way to play catch up here are a few reactions to films we’ve recently watched.

If you loved Zombieland, which I thought was a great movie, then you really have no reason to miss Zombieland: Double Tap. It’s a fun movie whose stars get to let their hair down from their more demanding roles and just pull the trigger (twice). If zombie killing really isn’t your cup of tea, then no amount of humor is going to help this medicine go down. Zombieland: Double Tap, essentially being a continuation of the original, made me think about original films we have seen this year. If you are looking for a fantastic performance based on a true story, look no further than The Mustang. Executive Produced by Robert Redford this film chronicles the real life prison rehab program that trains inmates on how to break wild mustangs. The horses are then, during one yearly auction, sold to police departments around the country. It was a powerful film with a stand out performance by Matthias Schoenaerts.

We saw several house location (if that is not already a genre it is now) based dramas involving the wealthy. One was the forgettable Ready or Not with a clunky plot that took its two dimensional characters nowhere but to absurdity. And the other was Knives Out with a refreshing storyline and amazing performances by Ana de Armas and Daniel Craig. If you are into whodunits, do yourself a favor and check out this movie.

The other standout in this invented genre is Parasite. This movie essentially blew my mind and will easily land in my top 5 films of the year. The fact that it only screened here in Appleton, WI at 4:pm for a day is just a shame. We were lucky that D is all over scheduling like a claw in a sprocket (obscure film projector terminology) and caught it. My own film Anger (shameless plug) played at the Weyauwega International Film Fest and was followed by Parasite — but those were the only screenings of this gem in this area. If it comes down to a fight for screen space around here then I say Frozen II be damned. I’m not actually going to write about Parasite because I would hate to give anything away plot-wise. It is a home based story as I mentioned, and we noted how infrastructure is ingeniously used as metaphor in the film. I’m guessing that like Moonlight, after it wins the Academy Award the multiplex bean counters (biting the hand that feeds me) will decide it’s time to bring it back to Appleton. Parasite is a fascinating work and an instant cinema classic.

I thoroughly enjoyed Ferrari vs Ford, or is it Ford vs Ferrari? The Cinematogtaphy in this racing film was astonishing and I was riveted by the fantastic performances of Matt Damon — who is at his best here — and Christan Bale. The cars are shiny and fast but what makes this film memorable is that it is really about the great bond of two friends hell-bent on making history and pushing the envelope of the human experience.

Terminator: Dark Fate was entertaining. I think it got a bad rap and was underestimated for not being historically correct in terms of previous films in this series. But at some point in a series with time travel you get into a Back to the Future scenario and if you can’t suspend disbelief then you will never enjoy the film. It is a movie after all and not a documentary on artificial intelligence and the time/space continuum. If you want an entertaining movie with lots of action and strong female leads who know how to kick- ass, this film will not let you down.

I happened to catch The Laundromat on Netflix. I watched it without knowing what it was about and I think you should watch it that way too. There are great performances here by Meryl Streep, Antonio Banderas and Gary Oldman and it’s certainly worth checking out if you are looking for some great acting and a thought provoking story.

We are all caught up now. Our best films of the year list is coming right up.

Angel Has Fallen

Record

L&D might be in the market to transcribe our conversations, as it seems that we can’t keep up with our reviews. We took in Angel Has Fallen on opening night approximately a month ago, and we are just getting around to it now. The verdict is that it wasn’t half bad. It stars Gerard Butler as a Secret Service agent, Morgan Freeman as the President who loves him, and Nick Nolte as the guy who pees in the hot tub. Where the story is headed is not terribly mysterious, and it’s tough not to pat yourself on the back throughout for being able to see six steps ahead, who the traitors are, who is going to get killed, and who is going to be still standing when the considerable amount of dust settles. But mystery is not really the point of Gerard Butler productions now, is it?

Indeed, this is the second time we’ve seen a Butler production in the past year from what appears to be the same production companies and crew. I would pretty much throw this one in the same bin as Hunter Killer in terms of its male-centered sensibilities, high production values, solid acting, and overall adrenaline rushiness. Although the movie isn’t terribly original — Butler’s character is sort of a mashup of Jack Ryan and Richard Kimble — it still allows Butler to show more range than with the more robotic caricature of a hardened submarine commander from the previous film. This is possibly because this is the third in the Angel trilogy (who knew?!?) and this is just where the character has evolved. Who knows? I guess my only real observation is that given how it played out, when the antagonist says “Lions” in his dying breath, Butler should not have been so taciturn. I think “**** ***, *******” would have been more appropriate.

Overall, L&D didn’t need to see (or even know about) the first two to enjoy the third one. There are probably four or five thrilling scenes in the movie, including some innovative work with drone strikes. Once DC is rebuilt, perhaps they’ll get around to making a fourth, but for now this one can provide you with way more than your fair share of explosive action if explosive action is your thing.