Showing posts with label John Hawkes. Show all posts
Showing posts with label John Hawkes. Show all posts

Friday, March 8, 2013

Lincoln (Steven Spielberg)

Honest Abe.

Honest Abe, the Liberator, the Great Emancipator. Throughout the course of human history, or to be more exact, the human understanding of history, Abraham Lincoln has always been highly considered as a pinnacle icon of human nobility, and numerous films have been made about him. From John Ford's "Young Mr. Lincoln" (starring Henry Fonda) to the insanely random "Abraham Lincoln: Vampire Hunter", Honest Abe has always been ubiquitous in the annals of cinema. But do you know what's the only thing lacking? Yes, you've guessed right, a proper biopic that would cater to a modern audience. And that, my friends, is just what director Steven Spielberg has given us: a version of Abraham Lincoln that wouldn't kill vampires for pleasure or would just serve as a supporting snippet for a Nostradamus documentary (D.W. Griffith's "Abraham Lincoln") but one that would really make us feel how it is to be a pressured leader whose sole purpose is to deliver his country from prejudice and bondage. 
     
It of course stars one of the greatest actors of our time, Daniel Day-Lewis, as the eponymous American president, a role that has deservedly given him his third Academy Award (although my heart still have a soft spot for Joaquin Phoenix's performance in "The Master"). Even from this film's early stages of pre-production, I was keen enough to follow the latest developments, specifically when Liam Neeson has surprisingly decided to vacate the lead role. In a way, when Neeson left the cast, I thought the film will certainly be shelved. But then, the great news has struck me: according to reports, Daniel Day-Lewis has agreed to replace Neeson as Lincoln. And then just like that, the film's first production picture, that of DDL sitting with a humble grin, came out; Day-Lewis, even in his casual, non-19th century garb, looks spot-on as the much-venerated president. From that moment on, with him looking more Abraham Lincoln than Abraham Lincoln himself, I just knew it: Daniel Day-Lewis will make history as the first actor to nab 3 Best Actor Oscars. And bless the Oracle of Delphi, made he did. 
     
Although "Lincoln", as a period biopic, sometimes lacks the particular liveliness that characterizes the genre, Day-Lewis' performance and Steve Kushner's exquisitely written screenplay was able to work hand-in-hand to carry the whole film through. And for Spielberg, who, for this film, is surprisingly subtle in his sentimentalism, his choice of where to approach Lincoln's humanity was perfect, and that is through Abe's humbling skill as a storyteller. Instead of utilizing some emotionally swaying speeches (hell, the Gettysburg address has not even seen the light of day), Spielberg has filtered Lincoln's influential personality through his witty retelling of various anecdotes and whatnot, which makes him all the more endearing and instantly reachable not just for the characters that surround him but also for us viewers. In this case, myth-making works the other way around: this time, a veneer of enigma won't certainly do Abe Lincoln's personality justice. What's needed is a dose of humble humanity and some hints of vulnerability, which this film has taken on with class. 
     
Consider the brief scene when Abe's son is sleeping on the floor. Instead of immediately bringing him to his bed, Abe, uncharacteristic of a larger-than-life leader, slowly hunched his posture and lied down on the floor with his son. Despite the film's abundance of memorable images, this is the scene that has stayed with me the most. Perhaps the film is suggesting that more than being a father of an entire nation, Lincoln is also the patriarch of a simple family, and in many cases, it's as important to be good as the latter as it is to be great as the former. 
     
Again, Spielberg was able to display his exceptional range as a director in this film; that he can be subtle as he can be emotionally preachy and that he can direct sequences of massive proportions the same way he can execute smaller scenes of emotional resonance. If ever this film has proven anything, aside of course from Daniel Day-Lewis' flawless acting prowess (not to mention the film's great supporting cast that is headlined by the great Sally Field and the grumpy-looking yet very witty Tommy Lee Jones) which has given life and character to a man whom we have never even seen in actual footage or even heard deliver speeches, then it is Spielberg's utter completeness as a filmmaker. 
     
But then again, after all is said and done, this film is solely Abraham Lincoln's: A man who has shaken the status quo for the sake of a higher purpose, a man who has delivered America from the ruthless hands of slavery, and a man who, simply put, has forever changed the face of human history.

FINAL RATING
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Saturday, February 19, 2011

Winter's Bone (Debra Granik)

Ree in the woods.

With its "Brother's Keeper-like" 'squalor in the woods' visuals and the emotional and economic burden felt throughout the film that echoes that in "Frozen River", I knew that by looking upon those simple parallels, 'pace' is a tertiary concern. Jennifer Lawrence is very effective as the independent, though constantly puzzled female protagonist Ree, using every means to hold her family together, put food on the table, and keep their house from being taken away.

I have to admit that I have fully anticipated some big time plot revelations in the end, as what many films dealing with mysterious disappearances and murders often lead to. With that, "Winter's Bone" has been rather quite exceptional. Instead of focusing on 'whodunit' plot devices, the film's central theme is within the emotional arc and choices of Ree herself.

The sheriff came into their house and told her that his crank-cooking (illegal drug maker) father is a 'runner' from the law, with their house being considered as his 'bail bond'. "I will find him" is Ree's sole answer to the sheriff. With that response, the camera pans into her face. Conflicted, clueless, but ultimately decisive. She will set on to locate her father whatever it may take. But there enters the conflicting duality of her true goal: Is she really trying to look for her father because of the simple idea that he, beyond all that he has done, is still 'family'? Or is she going to find him solely for the reason that they can keep their house? There may be no one that would outright and unconditionally help her in her mission considering the helplessness of her two young siblings, a mother resigned from reality, and a husband-dominated best friend. Her extended family of criminal grotesqueries may even be in on all the troubles, and going into the military is not a way out.

Then there were sequences where Ree constantly looks upon her father's closet filled with his clothes, boots, and a banjo (signifying that she may have really loved her father after all). And then on the other end, she will never let their house let out of her grasp. It's a two-way complication, but one which she is more than willing to resolve. She's compelled, not by outer forces, but by an inner call for order and emotional complacency.

Based on a novel, but with the film's extreme subtlety (though there was a peculiar use of a framed black and white sequence of squirrels and trees being cut down) and constant stagnation, the prevention of it being a cinematic adaptation that may connote and recognize its source material's page-turning quality was the one that was ultimately achieved. Great performance by John Hawkes as Teardrop.

FINAL RATING
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