I was so uncomfortable during Amsterdam. It was so self-indulgent. I was wondering when it would end. It never seemed to end, though it had long past had anything to say. It was just in love with saying things.
I wondered what this film would have been like with a halfway decent Director. Then was surprised to learn that it was directed by David O. Russell. It was beautifully shot but some of the shots seemed unsteady, not the greatest. Except the Director of Photography turns out to be one of the greatest, Emmanuel Lubezki. The cast was just a powerhouse of talent. Though they seemed unsure, stepping on each others lines, seemingly uncertain of what to say next. One actor gave the world’s flatest performance. Didn’t the Director notice? Was his note to act like a piece of wet cardboard?
It was a beautiful film, though. It’s too bad that you can’t just hang each frame in a museum and admire them without the rest. Maybe watch it with the sound off? Even still, there were a few great lines: Are you with someone because you choose them or because you need them? And…If you’ve had your heart broken, well it just means that you were living. Kudos to Russell for some depth there.
This film, which takes place in the 1930s had a certain haunting nostalgia. Meanwhile, the protagonist was doing a major Columbo rip-off. Yet there was no homage to Columbo which could save this film. Like the infamous Jerry Krause, the General Manager who broke up the Michael Jordan era Chicago Bulls, this film didn’t know how to get out of its own way. And maybe we should be grateful because I don’t think there would have been a dry eye in the house if they could have figured it out and pulled it off.
Meanwhile, I was also able to watch Paul Dano’s 2018 Wildlife starring Carey Mulligan, Jake Gyllenhaal and Ed Oxenbould. Also a period piece, this time from 1960 but with a distinct 1930s flavor. The film’s compositions owed much to Hopper and his isosceles trapezoids, which you can read about in Mark Strand’s Hopper. And Hopper’s light as well. It certainly felt like a depression-era story. And yet, a timeless story. Not nostalgic and unrelatable like Amsterdam’s fever dream. More like the slow burning forest fires that always menace these characters from a far off yet not impossibly distant place. Wildlife is a domestic nightmare, seen from the eyes of its 14 year old protagonist. There is no sledgehammer voiceover here, like in Amsterdam, telling you what to think. The story is told visually. In close-ups of cigar smoking. In tracking shots revealing the sunrise. In fantastic vistas of ever expanding, majestic mountains. It’s an allegory about pride and desperation and it never feels distant. If you get a chance to see Wildfire, it’s well worth the emotional deep dive.