As a filmmaker and writer everything I saw and heard in Dark Waters was pitch perfect for me. Is this the point when an already very, very good filmmaker makes something so significant it and he cannot be ignored? On my one viewing I would say definitely yes. So, how did Todd Haynes, and the cast and crew, not receive any Oscar nominations? The answer to that is unfortunately in the film itself.
Mark Ruffalo is exceptional as the initially unsure advocate (should I, shouldn’t I take this case?) the reluctant hero turning crusading lawyer travelling deeper into the lies and cover up world of Du Pont’s immoral practices, as he takes them on in the courts. The journey is long and far from easy.
Based on the New York Times Magazine’s “The Lawyer Who Became DuPont’s Worst Nightmare” by Nathaniel Rich, the story is real, the deaths associated with teflon and the poisoned waters from chemical spill run-off are countable, coupled to another important fact—the film narrative is so well managed and un-histrionic in its style and delivery that it makes watching dramatic and very affecting.
The mantra told often to us by lecturers in JD units: ‘a lawyer reads, that’s what a lawyer does’ hit home as I watched the many boxes of incriminating documents and records being wheeled into Mark Ruffalo’s (Rob Bilott’s) law offices.
How was Bilott not removed from his firm? It’s to my relief and all our benefit that he kept his position and kept on fighting the actions. A roomful of long applause for all involved.
I first saw Harvey W in person speaking in the Variety tent in Cannes at the festival in 2000, an interesting first in-the-flesh look at a man with a huge reputation.
I sat watching his technique in demolishing an Englishman in rumpled-linen who was questioning U.S. film business distribution techniques in Europe. Harvey countered with an argument that wasn’t all true – Warners ‘created’ post-war European cinema. (In Italy, and I believe in France, Warners, American distributors, had to, by law, leave their profits behind, and so diverted box-office takings into local product. i.e. the investment wasn’t a choice.
Some time later, I read Peter Biskind’s Down and Dirty Pictures, a superb read and study which told me all I needed really to know about Harvey’s ways of doing business.
Then came the revelations in hotel rooms and elsewhere – in summary making for a dark chapter to end his career on. As I watched Harvey pleading for understanding, I thought: is he ripe for redemption? My take was this – barring paying out his entire fortune to his victims and starting a centre for abused women, then manning the soup tables in the new Harvey Weinstein centre for homeless people, I couldn’t see him coming back in any form. My advice then: buy an island, gather-up lots of books, DVDs, coconuts, pineapples, slim down, live your life, because the one you had is over. Done. Finished.
But here’s the big but thing. It’s pretty well, jump on a bandwagon time against him, isn’t it. Even if the women are/were dead right to call him out – even without all the details we know in the deepest recesses of our consciousness that the accusations are as right as they are true – but the accusations also have a bandwagon organised feel to them.
Harvey had the temerity to take on the NRA, threatening them with a film with Meryl Streep in it. So, even if Harvey admitted his guilt and really is in a bad place morally, let him have his days in court. Let’s hear his side before we throw away the key. I know I know. I hear you. Harvey has a side? (He kills and eats his children, the man has a side? – from Deconstructing Harvey, soon for empty theatres near you)….
BUT – if Harvey truly is sorry, wants to prove how redemptional he is, be the genuine redemption chasing Harvey, even if he is under the influence of say of some native American mysticism, peyote, best Mexican grass ever grown, he needs to come up with a genuinely creative plan to make amends. Maybe there is a road back, but it needs to be a really good plan, a plan I’d like to put that omnipresent adjective in front of it for real, a GREAT plan.
- That says in toto:
I, Harvey Weinstein am going to be the greatest supporter of the vulnerable and victims on planet Hollywood and elsewhere, from here on in. I am going to pay for my sins and pay out to my victims, and from here on in, I am going to make only great films, life affirming comedies, Little Miss Sunshine kind of films, great themes, great actors, ensemble casts so lots of actors can get lots of work. I am going to help everyone I can get a chance on life’s creative ladder, because I am Harvey the great redeemed one.
A cartoon filled with fantasy in other words.
Still it could work. Stranger things have happened, right? Though he will need one helluva of a writer to make it stick.
Raymond Depardon and Claudeine Nougaret’s Journal de France, a quiet, inquiet, incisive and drifting study of their fifty-year collaboration and life in photo and cine-journalism.
Journal went straight through the eye to the heart, reminding me of all the driving I have done throughout France on the way to Italy, the footage I have filmed around the globe. The best art reminds of ourselves and our own lives always.
Some of the most arresting cine-images and moments were not North Africa, Venezuela or Czechoslovakia in political turmoil but the still images taken in quite places along French roads.
Norman Lloyd’s talk in the Salle Buñuel was a lesson in theatre, film technique, Shakespeare, Renoir, Brecht, Chaplin, Welles, Hitchcock and Kazan, and how to keep your mind a steel trap well into your nineties. I don’t know if he eats nothing but blueberries but he must be doing something right.
In an age when aging (see Haneke’s Amour) is often told in tales of sad decline, this man stands out as an object lesson of hope for all. The session was one of the highlights of Cannes in 2012. Holding his audience spellbound, Lloyd, a 97 year-old veteran of acting, directing and production, took listeners through the best part of the pantheon of cinema (the first 60 years of it). What and who he didn’t know simply wasn’t worth pursuing.
Lloyd, stage and film actor
It wasn’t just that he knew so many of those who were crucial to the development of 20th century cinema, it was he knew what they knew and why they knew it – and above all he could tell us how and why he knew what they knew. He understood their brilliance with exacting modesty, placing himself in the role of pupil to all of them. Yet for all intents and purposes he was their equal in collaboration, a creative confidant in so many ways; he travelled through film history with them not because of them. Lloyd’s contribution to film is real, tangible and deep. When he recounted how Hitchcock – a decidedly unpolitical man – with three words to NBC, “I want him” dissolved the McCarthy blacklist era, the entire audience in the Salle was stilled. Lloyd’s part in McCarthy’s ruination was just one anecdote in many. Politically involved and motivated throughout his career, Lloyd was a close friend to Jean Renoir, Chaplin, Welles and Hitchcock. Lloyd was at the heart of theatre and cinema for nearly fifty years. One of the best moments of the night was his recollection of the lines of Bertolt Brecht: “Since the people are displeased by the government, the people must be replaced.” The sharpness of wit, his breadth of cinematic knowledge was stunning.
2012 brought rain, and not so many memorable filmic moments, but there were a few. Cannes at festival time is always unique, with a special experience lurking somewhere even if a downbeat mood hung over the Mediterranean resort as it did for several days. The Cannes festival finds a way to transcend gloom whatever weather blows in.
Still, for all the ability of Cannes to transcend itself, I was left with the impression that this year will not figure among the list of the best festivals. That said, a gentleness hung in the air I liked, replacing the more manic moments I have seen in years gone by.
I was late in arriving and saw Roman Polanski present a reworked Tess on the evening of May 21. It is hard to remember what the original release in 1979 was like, but it doesn’t figure in my memory anywhere near as good as this version. Now the story seemed to make complete sense. Now we saw Hardy’s vision up on the screen. The two great adaptations of Hardy novels I have seen, Far From the Madding Crowd and Tess (of the D’Urbervilles) are epic cinematic experiences for any age and epoch.
Late in applying for accreditation as I was, film badges presented difficulties. Getting into the venues I wanted to be in was not straight-forward. One day I set out to bus from Golfe Juan to get to a screening of On the Road in Cannes. I gave myself ample time but three, then four number 200 buses from Nice went by, all full. Running to the train station I found the train for Cannes La Bocca was cancelled; train workers were on strike. Then I had to wait nearly thirty minutes for a train to Cannes itself. Show time for the film was five o’clock and that time was looming. Finally I was able to take the train as far as Cannes and then tried walking the rest of the way in the rain but had to give up. The film began while I was still two kilometres away from the cinema. There were probably no seats left in any case.
The next re-screening of Jack Kerouac’s era-defining novel was on the last day at 9 am, but as I was at a screening of the Korean, The Taste of Money, up until two am, I missed that screening as well.
I had re-read Kerouac’s novel carefully and really enjoyed it. I was looking forward to the film adaptation of it. However lukewarm the reviews, I wanted to see On the Road more than any other film. I wasn’t the only one.
I did make it to Holy Motors at 11.30 am that next morning, and left thinking, except for a couple of wild scenes, what was all the fuss about? Overall Carax’s style is manufactured shock-treatment, a director setting out to do the impossible in 2012, shock us; you can’t shock anyone in a cinema anymore, only bore or pleasantly surprise audiences. The lead actor was bravura, but as Irreversible did some years back, the film’s attempts to violate left me cold, even colder when it calmed down into quiet film parodies. I left the theatre thinking, we have been down this road before (with David Lynch, perhaps). I didn’t bother with Cosmopolis. Reading DeLillo’s book, seeing the film trailers, convinced me there were no surprises to be had in it. I wasn’t alone on that either. There were better things to do.
I saw the American Mud. Sustained irony might have helped it along, though it was easy on the eye and on the mind, that’s if you’re into 14 year old cute boys, Matthew McConaughey without his shirt, or Reese Witherspoon, if any or all of them float your boat.
I didn’t have tickets for the closing ceremony in the main auditorium, joining journalists in the cinema adjacent. I saw the event in close circuit cinema in row two. Before that I took pix of photographers running from the red carpet to the action inside. They didn’t look pleased to be pixed. Weird, photographers hating having done to them what they do ad infinitum to others.
After the awards were handed out, I stayed second row to see the late Claude Miller’s Thérèse Desqueyroux (something I didn’t regret doing). I felt more at home in that pre-modern space of 1890-1930 set cinema. Miller’s film set in 1928 rural France is beautifully realised, by a master of period cinema, just as is Polanski’s Tess set thirty-seven years earlier across the channel. Both films deal with misunderstood women who suffer injustices. Both are big, slow moving, carefully manicured epics that did nothing to unmake my festival.
..handheld shaky cam, found footage, ultra-violence, meta-storylines, etc., all becoming part of the broad pop cultural landscape and assimilated into the commercial marketplace. This translates across all cultural lines – music, art, technology, etc. as the outsiders and untouchables of yesteryear are today’s TV spokesmen and tastemakers..
…experimental film seems to represent more fully the true potential and magic of cinema
…for brief moments in history, think the ‘beats’, the real ground-shakers, the true risk-takers, manage to do something that is life and culture affecting, their minds drafting the future…
Away from the homages, special screenings, classic films, away from the red carpet ride to that palace of dreams, away from the Cinema Paradiso deep in the watery hearts of those days of ‘how it used to be before they built the new Palais.’ Away from the game before it became the game it is “guarded by thin-lipped security experts..” (Roger Ebert).
Away from: This is a business after all, bringing in hundreds of millions (billions) annually. Away from the other Cannes down in the concrete heated bowels of an airless bunker where the sharp weave themselves into tongued-tied hoarse and whispery tanglings over business fits and contracts and suits.
Away from the silver screen stars of present and past, Charles Bronson and Miss Piggy, Arnold, Bruce, Brad, Brigitte, Mel, Kirk, Michael, Woody or Penelope, away from the belle epoque hotel suites and facades, away from yachts as big as small apartment blocks stock stilled by the importance of those they house out in the wide bay, away from those gleaming bright decks, practiced sunglasses, strategic smiles, away from trained binocularists, the annual crush and cheap ticket ride along the promenading, skateboard Croisette, away from the blinding baroque plaster, the guest only dinners, friend-of-a-friend-who-knows-a-friend ticket-only beach parties, away from the clickety-click crush of pass-only photo shoots, prized seats under the balcony, away from ‘go easy I’m-not-wearing-makeup’, away from the bright-new-glory of my-new-found-fame, those bullish, brave, belligerent and bereft smiles, away from the silent jeering, away from the exclusion zones out in the streets.
Away from get away from who-are-you-and-who-do-you-know big films and titles, away from that winnowy fame and limouey celebrity, over in the back blue road of Mediterraneanised cinema, over in – I only hole up in the dark to witness creative endeavour – over in this other plane and train load of tourist-class, over in the world you mostly will never hear talk long enough to remember how to forget, over in the altogether smaller world of Un Certain Regard, with a jury presided over by Tim Roth.
Among the yet no-so unfamous such as Benicio DEL TORO, Pablo TRAPERO, Julio MEDEM, Elia SULEIMAN, Juan Carlos TABIO, Gaspard NOÉ et Laurent CANTET with 7 DIAS EN LA HABANA @ 2h and 5m, four first-filmers, Brandon Cronenberg (yes, that Cronenberg) with ANTIVIRAL @ 1h and 50m, Ashim AHLUWALIA with MISS LOVELY @ 1hr 50m, and Juan Andrés Arango with LA PLAYA @ 1h and 30m.
Roth’s own brit pack ever-repressed to boiling anger ride through names and changes in life and cinema from Dulwich to Los Angeles via works by Mike Leigh, Stephen Frears, Peter Greenaway, Robert Altman, Quentin Tarantino, Nic Roeg, John Sayles, Wim Wenders, Tim Burton, Woody Allen, Werner Herzog and Francis Ford Coppola seems to offer interesting, experimental possibilities as what might emerge as the final choice.