Post by klep on Feb 22, 2016 7:46:58 GMT -6
MOVIE OF THE WEEK for 2/22: Punch Drunk Love
Paul Thomas Anderson is a hell of a director, but most of the time he's augmented by a core cast of excellent actors. In Punch Drunk Love, while most of the cast is great, for his star he ended up with Adam Sandler. And yet in this film he actually gives an excellent performance. Anderson found a role for which the odd ticks and manchild discomfort Sandler exhibited in his early Happy Madison productions are perfectly suited. Barry Egan is a lonely, isolated man who grew up tormented by seven sisters and as a result has trouble interacting with other people - and women in particular. Barry often lies or gives excuses to get out of social engagements, and when things go wrong he is prone to eruptions of rage.
But how do I know that Anderson bears so much responsibility for the effectiveness of Barry Egan? Because his fingerprints as director are all over the film. The very first shot is an image of Barry sitting at a small desk in a seemingly empty warehouse on the side of the frame, isolated both vertically and horizontally, with his head partially obscured by a phone. Before Adam Sandler even utters a word Anderson has already written a small volume about Barry's self-image and psychology. The markers of Barry's loneliness continue throughout the film. He wears a blue suit that sets him apart from those around him. He's frequently isolated in the frame even when other characters are there. And when he finally does find a real, true connection with someone they're framed in an embrace in silhouette, just off center, in dominant position on the screen. It's a beautiful moment after a lonely journey, and while there's still plenty of film left, that's the moment at which you first think that things may be alright after all.
So Facebook keeps me from doing a proper set of screencaps (not that I have the time or energy required in my current condition to find them). So please, feel free to share your favorite shots from this film and talk about what makes them so special for you. Do you know of any similar films in which a director took an unlikely actor and got such a great performance from them?
OUR NEXT MOVIE OF THE WEEK for 2/29: Lawrence of Arabia
It's finally happening! After literally months of getting nominated and making it to the voting, Lawrence of Arabia has finally reached the top of the heap. We'll be discussing this masterpiece next week. Lawrence of Arabia is available for streaming on Amazon Instant Video, and is apparently free for Prime members if you sign up for a Tribeca Shortlist free trial, whatever that is.
NEXT PICTURE SHOW PODCAST for 2/18: Hail, Caesar!
Wednesday we'll have a conversation about the latest Coens' film and how it relates to their earlier work set in Hollywood, Barton Fink. Hail, Caesar! is currently in theaters.
Paul Thomas Anderson is a hell of a director, but most of the time he's augmented by a core cast of excellent actors. In Punch Drunk Love, while most of the cast is great, for his star he ended up with Adam Sandler. And yet in this film he actually gives an excellent performance. Anderson found a role for which the odd ticks and manchild discomfort Sandler exhibited in his early Happy Madison productions are perfectly suited. Barry Egan is a lonely, isolated man who grew up tormented by seven sisters and as a result has trouble interacting with other people - and women in particular. Barry often lies or gives excuses to get out of social engagements, and when things go wrong he is prone to eruptions of rage.
But how do I know that Anderson bears so much responsibility for the effectiveness of Barry Egan? Because his fingerprints as director are all over the film. The very first shot is an image of Barry sitting at a small desk in a seemingly empty warehouse on the side of the frame, isolated both vertically and horizontally, with his head partially obscured by a phone. Before Adam Sandler even utters a word Anderson has already written a small volume about Barry's self-image and psychology. The markers of Barry's loneliness continue throughout the film. He wears a blue suit that sets him apart from those around him. He's frequently isolated in the frame even when other characters are there. And when he finally does find a real, true connection with someone they're framed in an embrace in silhouette, just off center, in dominant position on the screen. It's a beautiful moment after a lonely journey, and while there's still plenty of film left, that's the moment at which you first think that things may be alright after all.
So Facebook keeps me from doing a proper set of screencaps (not that I have the time or energy required in my current condition to find them). So please, feel free to share your favorite shots from this film and talk about what makes them so special for you. Do you know of any similar films in which a director took an unlikely actor and got such a great performance from them?
OUR NEXT MOVIE OF THE WEEK for 2/29: Lawrence of Arabia
It's finally happening! After literally months of getting nominated and making it to the voting, Lawrence of Arabia has finally reached the top of the heap. We'll be discussing this masterpiece next week. Lawrence of Arabia is available for streaming on Amazon Instant Video, and is apparently free for Prime members if you sign up for a Tribeca Shortlist free trial, whatever that is.
NEXT PICTURE SHOW PODCAST for 2/18: Hail, Caesar!
Wednesday we'll have a conversation about the latest Coens' film and how it relates to their earlier work set in Hollywood, Barton Fink. Hail, Caesar! is currently in theaters.