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Tag Archives: Unhappy marriage

Under the Tree (2017)

03 Sunday Feb 2019

Posted by dullwood68 in Movies

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Tags

Þorsteinn Bachmann, Black comedy, Drama, Edda Björgvinsdóttir, Hafsteinn Gunnar Sigurðsson, Iceland, Neighbours, Review, Selma Björnsdóttir, Sigurður Sigurjónsson, Unhappy marriage

Original title: Undir Trénu

D: Hafsteinn Gunnar Sigurðsson / 89m

Cast: Steinþór Hróar Steinþórsson, Edda Björgvinsdóttir, Sigurður Sigurjónsson, Þorsteinn Bachmann, Selma Björnsdóttir, Lára Jóhanna Jónsdóttir, Dóra Jóhannsdóttir, Sigrídur Sigurpálsdóttir Scheving

Inga (Björgvinsdóttir) and Baldvin (Sigurjónsson) are an elderly couple who live next door to Konrad (Bachmann) and his second wife, Eybjorg (Björnsdóttir). The two couples get on for the most part, but there is a large tree in Inga and Baldvin’s garden that blocks out much of the light when Eybjorg uses their sun deck. This bone of contention has been raised once or twice, but Inga is determined that the tree will remain as it is. Meanwhile, her son Atli (Steinþórsson), has been kicked out by his wife, Agnes (Jónsdóttir), and has come back home while he tries to put things right between them. When all the tires of Baldvin’s car are slashed, and then Inga’s cat goes missing, these events trigger a further string of occurrences that threaten to – and then do – spiral out of control. Atli goes about reconnecting with Agnes in ways that serve only to antagonise her further, and which also have an effect on their young daughter, Asa (Scheving), and relations between the two sets of neighbours deteriorates to the point where tragedy and violence ensues…

In this pitch black comedy from Iceland, the opening scenes set the tone for the rest of the movie, with Atli caught masturbating to a sex tape he made with someone he knew before meeting Agnes. As awkward moments go, it’s pretty awkward, and there are many more to enjoy as the movie progresses, with each character either the victim of something horrible, or being the catalyst or instigator of something horrible. What’s clever though about the set up by writer/director Hafsteinn Gunnar Sigurðsson is the way in which he escalates matters between the two sets of neighbours, but without showing us if any of them really are responsible for, say, four slashed tyres, or the disappearance of a cat. This ambiguity hints at the possibility of a third party being involved, but again, Sigurðsson offers no clues as to this third party’s identity, and so the cycle of revenge plays out with a high degree of angry absurdity, as each couple blames the other for their woes. Tit for tat gives way to targeted, violent (even criminal) behaviour, until tragedy is compounded by further tragedy, and the original disagreement seems petty and inconsequential. Sigurðsson acknowledges what we all know to be true: all’s fair in hate and war.

Sigurðsson also isn’t afraid to make some of his characters unlikeable, or in Inga’s case, downright horrid. With a caustic tongue and a mind that’s been warped by grief – her other son, Uggi, has disappeared and is presumed dead, though no body has been found – Inga is played with angry gusto by Björgvinsdöttir, and it’s she who provides the movie with its most awful moment as the disappearance of her cat causes her to do something so terrible you can’t stop thinking about it after the movie has ended. That it also sets up one of the funniest moments in the movie is a tribute to the care with which Sigurðsson has crafted his narrative. But though the humour is as dark as it can be, this is ultimately a movie about loss, and the things people will do to avoid dealing with it. Inga hasn’t dealt with the loss of her son (Baldvin states at one point that it perhaps would have been better if Uggi had died in front of her), while Atli is struggling to come to terms with losing his family through his own stupidity, and Eybjorg is scared of losing altogether the chance of becoming a mother. Driven by these fears, and the grief that comes with them, each character fights their own corner, but without the understanding that their feelings aren’t exclusive, or that by concentrating only on themselves, that the tragedy stalking all of them will happen all the sooner.

Rating: 8/10 – with terrific performances from all concerned, and a grim, relentless intensity to the material, Under the Tree is impressively detailed when it comes to the various ways in which people rush to ensure that revenge can be eagerly justified – if only to themselves; unsparing and cruel in places, but fiercely intelligent and with a small measure of optimism to cling on to, it’s a movie that doesn’t pander to its audience, or offer them an easy way out from all the suffering of its characters.

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80,000 Suspects (1963)

17 Saturday Mar 2018

Posted by dullwood68 in Movies

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Bath, Claire Bloom, Drama, Elleston Trevor, Literary adaptation, Review, Richard Johnson, Smallpox, The Pillars of Midnight, Thriller, Unhappy marriage, Val Guest, Yolande Donlan

D: Val Guest / 109m

Cast: Claire Bloom, Richard Johnson, Yolande Donlan, Cyril Cusack, Michael Goodliffe, Mervyn Johns, Kay Walsh, Norman Bird, Basil Dignam, Arthur Christiansen

It’s New Year’s Eve and all is not well between Dr Steven Monks (Johnson) and his wife, Julie (Bloom). After nine years their marriage is faltering. He has had an affair with a long-time friend, Ruth Preston (Donlan), the wife of one of his colleagues, Clifford (Goodliffe), but Julie only has vague suspicions and half-formed ideas as to why their marriage is in trouble. The discovery that a patient at the hospital where Steven works has smallpox, at first puts their problems to one side, but as more and more sufferers are found and the threat of an epidemic hangs over everyone, their relationship – and how they overcome their issues – takes on a greater importance for both of them. Julie contracts the virus, while at the same time, Ruth may or may not have left her husband. With the authorities stretched to the limit in their efforts to contain the outbreak, personal animosities become heightened, Steven and Julie find themselves making irrevocable decisions about their marriage, and one carrier threatens the safety of everyone…

Adapted from the novel, The Pillars of Midnight by Elleston Trevor, 80,000 Suspects is three movies rolled into one. There’s the hospital-based drama that unfolds as more and more smallpox sufferers are discovered and the Ministry of Health is brought in to save the day, there’s the relationship drama built around the problems of Steven and Julie, and there’s a late addition in the form of a race against time to find the last carrier, which makes it a thriller. All these elements bump against each other as the movie unfolds, and though they don’t always do so in an organic or believable way, the strength of the material overall ensures any rough transitions are smoothed over as quickly as possible. As each element is explored, the script also ensures that they’re not explored for too long before moving on or away to the next development in the story. This keeps the narrative ticking over effectively, and allows the characters – even the minor ones such as Johns’ over-anxious Ministry of Health coordinator – to stand out as credibly as possible. Working from his own script, director Val Guest adroitly keeps the focus where it’s needed, and elicits good performances from all concerned (though you could argue Johnson is a little stiff at times).

Shot in and around the town of Bath during the winter of early 1963 (which was particularly bad), the movie benefits from its location work, and the involvement of local residents in the scenes involving mass vaccination (watch out too for a cameo from Thirties star Graham Moffatt as a man with a fear of needles). This level of verisimilitude adds greatly to the no-frills approach adopted by Guest, and helps to make the potential scale of the epidemic that much more frightening. And for once, there aren’t any hidden agendas or characters using the outbreak for personal gain, just a group of people trying to do their best under difficult circumstances. The inter-relationships between the Monks’ and the Prestons does lead to a couple of soap opera-style moments, but these are forgivable in a movie that, by and large, could be mistaken at times as being a reconstruction of past events. Guest oversees it all with his usual skill, and in tandem with DoP Arthur Grant, uses the CinemaScope format to impressive effect, even though he relies on medium shots for most of the movie. Often gripping, this is a minor British classic, and easily due a revival.

Rating: 8/10 – an intelligent, yet modest drama with thriller leanings, 80,000 Suspects invests heavily in its characters and uses its smallpox outbreak as a way of exploring their faults and foibles, and in some depth; Bloom is terrific as the conflicted Julie, but Guest is the movies’s MVP, and if for nothing else, than for showing the fear and paranoia about the outbreak spreading out of control coming not from the public, but from the authorities trying to combat it.

NOTE: At present, there isn’t a trailer for 80,000 Suspects.

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Gone Girl (2014)

09 Thursday Oct 2014

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Amazing Amy, Ben Affleck, David Fincher, Drama, Gillian Flynn, Literary adaptation, Marital problems, Murder, Neil Patrick Harris, Relationships, Review, Rosamund Pike, Thriller, Unhappy marriage

Gone Girl

D: David Fincher / 149m

Cast: Ben Affleck, Rosamund Pike, Neil Patrick Harris, Tyler Perry, Carrie Coon, Kim Dickens, Patrick Fugit, David Clennon, Lisa Banes, Missi Pyle, Emily Ratajkowski, Casey Wilson, Lola Kirke, Boyd Holbrook, Sela Ward, Scoot McNairy

One morning in July, Nick Dunne (Affleck) comes home to find signs of a violent struggle and his wife, Amy (Pike), missing.  He calls the police and when they arrive, Detective Boney (Dickens) and Officer Gilpin (Fugit), soon find further evidence that something bad has happened.  Soon, Amy’s face is everywhere, and while it’s assumed at first that she’s been abducted, Nick’s behaviour doesn’t ring true and he becomes a suspect in what may be his wife’s death.  With evidence building up against him, Nick and his sister Margo (Coon) try to figure out what’s going on, but they’re stumped at every turn.  It’s only when they make a startling discovery in a woodshed on Margo’s property that they begin to realise what’s really happening.

At this point in the movie, as well as in Gillian Flynn’s original novel, there is a major plot twist, and both incarnations of the story begin to move in a new direction, opening out what is a fairly claustrophobic small-town mystery into something that strains credulity and begins to founder under the weight of its attempts to be cleverer than it needs to be.  There are many, many problems with the plot against Nick Dunne, not least Nick’s conveniently inappropriate responses in front of the police and the media, but also the introduction of Amy’s diary.  This offers a disjointed view of Nick and Amy’s marriage that’s meant to put doubts in the minds of the audience as to Nick’s innocence, but which has its effectiveness rendered null and void by the aforementioned plot twist.

It’s not unusual to watch a thriller and find yourself questioning the logic of what’s happening, but with Gone Girl it’s a constant process.  There’s little doubt that Flynn’s tale of marital discord has a degree of cultural relevancy, and her examination of the hidden duplicities and feelings within a marriage is sharper than expected, but ultimately, what we’re talking about here is an above averagely presented potboiler that marries trenchant observations on the media and modern marriage with more traditional thriller elements, and which muddles its way through to an ending which can be seen as either depressingly nihilistic or just desserts for a character – Nick – who has been outclassed from the beginning (though it seems at first glance that it’s all happening because the person doing it all really holds a grudge).

Gone Girl - scene

What happens in the movie’s second half, as Nick attempts to regain control of his life, and defend himself from the police and the media, is confidently arranged and presented by Fincher, but with what the audience knows is happening elsewhere, the movie maintains its measured, effective pacing but at the expense of the tension that’s been built up before.  It’s not the movie’s fault; it is, after all a very faithful adaptation by Flynn of her own novel, and Fincher seems happy to go along with the twists and turns and her reliance on dramatic licence to steer her characters through.  The weaknesses that plague the second half of the novel are present in the movie, and have the same effect: they make everything too unbelievable, and lead to a denouement that will either have audiences who haven’t read the novel shaking their heads in disbelief and asking, “Is that it?”, or audiences who have read the novel shaking their heads in disbelief and asking, “Is that still it?”

So – is Gone Girl then a bad movie?  The answer is very definitely No.  In Fincher’s hands, Gone Girl overcomes it’s cod-psychological thriller origins to become a dark, unsettling movie that picks at the conventional notions of love and marriage and finds murky, troubled waters flowing just below the surface.  As an examination of how two people can fall out of love with each other so easily, and be so ready to hurt each other in the process, the movie scores on all counts.  Nick and Amy, once so right for each other, are now adversaries, both looking to come out on top.  It’s an unfair fight; after all, if Nick was a box-cutter, he’d be the last one you’d use to open up something (he’s just not that sharp).  But Amy is sharp, smart as a whip in fact.  She’s Amazing Amy, the ultimate version of herself that her parents created when she was a little girl, a prodigy who always excels, who always ends up the winner, just because she’s Amazing Amy.  (Amy has always been in competition with her literary alter-ego, but the movie only mentions it in passing, while the novel explores the idea in greater, and more rewarding, depth.  It’s important to take in, though.)

Fincher excels at fleshing out the characters.  Nick is smug and stupid and reckless and self-satisfied and callow and foolish, and he has no idea how idiotically he behaves.  He’s like Bambi in a hunter’s sights, a prize just waiting to be claimed.  Affleck gives perhaps his best performance in years, earning our initial sympathy then dashing it to the ground in one superbly orchestrated scene that pulls the rug out from under the audience with undisguised pleasure.  Nick is twitchy, nervous, anxious, panicky – all the things you’d expect when someone is increasingly viewed as having killed their wife, but Affleck never puts a foot – or an inappropriate grin – wrong, imbuing Nick with an easy-to-warm-to naïveté that hardens as the movie plays out, his nervous energy transformed into a need for redemption in the public’s eye.  As mentioned before, Nick is a frustratingly obtuse character, but Affleck makes it a positive.  Even when Nick is doing or saying something witless, like posing with a woman for a selfie, it’s witless because it’s part of his nature, his way of dealing with people.  He’s like a puppy: he just wants to be loved.

Gone Girl - scene2

Conversely, Amy has always been loved, her parents’ books about her excelling alter-ego having made her treasured by default.  But that affection comes with an expectation that everyone around Amy will feel the same way about her, and if she’s in a relationship then it’s all or nothing, her way or no way.  Pike is a revelation here: as we learn more and more about Amy, she reveals more and more of the fractured person Amy really is.  It’s a role that would test any actress, but Pike – who probably wasn’t most people’s first choice for the part – claims the role as her own and pulls off a devastating performance.  She’s an actress who shows everything with her eyes; watch those and you’ll know everything her character is thinking and feeling, and some things you might not want to know.  She complements Affleck’s performance superbly, and she even manages to make some of Flynn’s more tortured dialogue sound appropriate and convincing.

In support, Dickens is excellent as the detective who never feels entirely satisfied with the way things keep happening, her experience telling her that there’s more going on than meets the eye.  As one of Amy’s old boyfriends, Desi Collings, Harris is awkwardly emotional and manipulative at the same time, the kind of creepy paramour most women would run a mile from.  Coon offers solid support as Nick’s sister but the role is  stereotypically rendered: she believes in him no matter what, even when he does something really stupid.  And Perry – as Nick’s lawyer, Tanner Bolt – has fun with a role that could have done with a bit more bluster, and he provides some much needed levity from the seriousness of the situation.

Marshalling the production into something much greater than its origins, though, is Fincher, a director able to elevate any material he’s given – save Alien³ (1992) – and make it riveting to watch.  In hand with cinematographer Jeff Cronenweth, Fincher makes Gone Girl an impressively visual experience, with shots and images that linger in the memory, and never so cleverly as with Nick and Amy’s home, a large, airy property that serves to highlight how far apart from each other they actually are.  Fincher also takes the more outlandish aspects of Flynn’s story and makes them more credible (though even he’s powerless to override the flimsy psychology that underpins the ending), and he makes the audience want to know what happens next, even if it might be obvious.  With two commanding central performances as well, Gone Girl cements Fincher’s reputation even further, and if at some point down the road Flynn decides to revisit Nick and Amy’s marriage, there shouldn’t be any question as to who should direct the movie version.

While it may divide some audiences – especially those who like their endings to be unequivocal (although this is, in its way) – Gone Girl is nonetheless superior movie-making, and should be regarded as such.  Fincher shows a complete understanding of the characters and their motivations, and delivers one of the most unexpectedly energised movies of the year.  It’s a thriller, yes, but at its heart it’s a movie about the expectations of love and the slow decay of a relationship, where passion turns to pain and love turns to hate.  And it’s relentless.

Rating: 8/10 – the script’s deficiencies knock this one down a point, but this is still very impressive stuff indeed; a taut, engrossing thriller that impresses with every scene, Gone Girl is that rare movie that grips the audience despite its faults and becomes a movie that everyone will want to talk about afterwards.

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Better Living Through Chemistry (2014)

30 Sunday Mar 2014

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Affair, Control freak, Cycling, David Posamentier, Drugs, Geoff Moore, Michelle Monaghan, Olivia Wilde, Pharmacist, Pharmacy, Prescriptions, Review, Sam Rockwell, Unhappy marriage

Better Living Through Chemistry

D: Geoff Moore, David Posamentier / 91m

Cast: Sam Rockwell, Olivia Wilde, Michelle Monaghan, Norbert Leo Butz, Ben Schwartz, Ken Howard, Harrison Holzer, Ray Liotta, Jane Fonda

Another slice of American small-town life, Better Living Through Chemistry introduces us to pharmacist Doug Varney (Rockwell).  Doug is married to Kara (Monaghan) and they have a twelve year old son, Ethan (Holzer).  Kara is too absorbed in her work as a fitness instructor to pay Doug much attention and they haven’t had sex for ages, while their son is getting into trouble at school.  At work, Doug has just taken over his father-in-law’s pharmacy business but is dismayed to find the sign isn’t changing from Bishop’s Pharmacy to Varney’s Pharmacy.  Browbeaten and ignored by the people closest to him, Doug continually finds it difficult to stand up for himself, or make any lasting changes in his life.  Seeing no way out of his predicament, he coasts along resignedly… until he meets Elizabeth (Wilde).

Elizabeth has recently moved to town with her husband, Jack (Liotta).  She takes a lot of pills and drinks a lot of alcohol and tells Doug about her troubled marriage.  They begin an affair, during which Doug takes one of Elizabeth’s pills, the first time he’s ever taken any drug, prescribed or otherwise.  Gaining a liking for how drugs can make him feel, Doug begins to make his own, mixing various pills in order to maintain and then boost the wellbeing he’s experiencing.  The drugs boost his confidence, and this in turn, helps him address matters at home.  He reconnects with Ethan, and devises a plan to beat Kara in the annual cycling race she has dominated for five of the last six years.  And as well as juggling work, his home life, and his affair with Elizabeth, Doug also has to deal with a routine investigation by DEA agent Carp (Butz), that might uncover his misuse of his stock.

Doug and Elizabeth’s affair becomes more serious and they plan to leave town together, but Elizabeth has signed a pre-nuptual agreement, and Doug will lose what little he has in a divorce.  They decide to bump off Jack by making a slight change to his prescription.  Elizabeth leaves town to establish an alibi, and Doug arranges for Jack’s medication to be delivered by assistant Noah (Schwartz).  But their plans go awry, and in a way neither of them could have foreseen…

Better Living Through Chemistry - scene

A bittersweet drama with comedic episodes woven into the movie’s fabric, Better Living Through Chemistry is an enjoyable though perilously lightweight movie that benefits tremendously from Rockwell’s confident central performance.  There’s little here that’s entirely new but co-writers/directors Moore and Posamentier have done a good job in bringing together and exploiting both the humorous and the dramatic elements.  The movie switches focus with ease from scene to scene, offering different moods at different times, but there’s nothing forced or contrived about the way events unfold, or how the characters react to or deal with them.

This is largely due to the script, which (as mentioned above) only occasionally strays towards depth, but does have a few things to say about love and marriage (even if we’ve heard and seen them many times before).  Where it does do well is in its ability to upset the audience’s expectations.  After the cycling race, Doug and Kara have sex, and it’s the most satisfying sex they’ve had in ages, but it doesn’t presage a sea change in their relationship.  Instead, it reinforces Doug’s decision to leave Kara for Elizabeth.  It’s this kind of twist in the tale that the movie does so well, and this and some other surprises stop it from being entirely predictable.

Unfortunately, the characters are mostly one-dimensional, especially as written, but thankfully the cast are more than up to the challenge of breathing life into them.  Rockwell excels as the mild-mannered pharmacist turned would-be killer for love (you’ll never look at him in the same way again after seeing him in a leotard), and carries the movie effortlessly, making Doug an everyman character we can all sympathise with and root for.  Wilde has the glamour role, and carries it off with ease, subverting expectations as to Elizabeth’s motivations at every turn.  Monaghan has the least developed role but still manages to make Kara a shade more interesting than if she was just a hard-nosed bitch, and in minor roles, Liotta (providing what amounts to a cameo) and Butz add flavour to the proceedings.  The oddest role goes to Jane Fonda who not only narrates the movie as if she’s been witness to everything that happens, but also appears briefly at the end, and is listed as herself in the end credits.

With its well-chosen cast and its carefree approach to recreational drug use, Better Living Through Chemistry is neither a cautionary tale nor an exposé of small town secrets.  At its heart it’s a look at one man’s road to emotional self-recovery, and on that level it works splendidly.  But without any appreciable depth to proceedings, the movie misses out on being as effective as it could have been.

Rating: 7/10 – a charming movie given life by its well-chosen cast (it’s hard now to envision first choice Jeremy Renner in the role of Doug), Better Living Through Chemistry often comes close to letting itself down but just manages to avoid doing so; an undemanding movie, but still a winning one for all that.

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