THE SOULS OF THE DEPARTED

 I just got my teeth kicked in courtesy of Martin Scorsese and his slew of gifted actors in THE DEPARTED.  This is breath-taking, thrilling filmmaking and story-telling, and the actors are all outrageous.  Leo DiCaprio has finally made a believer out of me, and can any of us really believe the resurgence of Alec Baldwin?  Let's also not forget the always-brilliant Ray Winstone (a Balcony favorite), and Mark Wahlberg, who really never gets the credit he deserves for being totally top-notch.  There are too many highlights to name here, but I think the scene with Leo and Jack in the restaurant is pretty much the narrative peak of the film, and it was a total pleasure to see the young lad holding his own against the force of nature that is Jack.

I didn't even mind the guns and blood:  the story is that good, the characters (especially Leo's Billy Costigan) that involving, that I just got sucked right in and never wanted out.  

It's a bit long, there are some unnecessary plot-twists, the women (woman, really) are pitifully under-written, but it's a bloody (and I do mean bloody) great film.

Marty, I have always loved you, if only for THE LAST WALTZ, but now you have shown me just what you are truly made of.  Thanks for a great ride.

The Dying Universe

There is so much to like about Darren Aronofsky’s wildly ambitious film ‘The Fountain’, that it is hard to be too critical about the elements which don’t succeed, especially the snow globe. That’s right, I said snow globe. I am not spoiling anything by indicating that there is a snow globe which plays a central role in this film, only the filmmaker has failed to provide a clear definition of what that role is. Perhaps there is a Citizen Kane connection (‘Rosebud’), but that involves a pretty active and creative audience. Since seeing the movie, I have looked at some of the reviews, which purport to explain the snow globe but I liked it better not knowing what the studio’s press package said. I won’t repeat it here.

Taking risks like this is admirable in itself, but the risk is that, if it doesn’t work, it takes away from the artwork. I’m reminded about Magnolia (if you haven’t seen Magnolia, then SPOILER ALERT!!!!!) and the frogs. That was also a risk and it didn’t really work either. The major difference there was that the frogs don’t come till the end. Here, Aaronofsky has put a lot of marbles in that snow globe, and if you’re turned off by it, then you’re really stuck for a good chunk of the film.

All that being said, I can not heap enough praise on the performance of Hugh Jackman. It’s a shame this is a movie that few will see and fewer will like (see discussion above), because it’s hard to imagine a more intense and raw performance from a major actor this year. He is, at once, subtle and over-the-top in his rage and grief. He’s pleading with everyone and everything around him as fate closes in. He’s so driven to save his dying wife that he goes completely around the bend and, arguably, starts making things worse. His passion to help her is consuming her.

And then there’s Rachel Weisz. I must confess I was most worried about this because of her intimate and ongoing relationship with Aronofsky. How could this not be the pure vanity that brought us Geena Davis in Cutthroat Island and every film role Rebecca Pidgeon has ever had? I am pleased to report, that there is no such problem. Ms. Weisz’s talent is 100% genuine and on full display.

A final note must be made about the sumptuous production. The sets, costumes, colors, sound, music, makeup – Aronofsky is slowly establishing himself as a master stylist on the order of Tim Burton or Jean-Pierre Jeunet. The production elements are so powerful that they become characters in the story (like the snow globe, for example).

The Fountain is difficult, unclear, bleak, heavy, confusing, humorless and bizarre. It is also a stunning meditation on life and death, told though the grace and beauty of masterful performances and production.