In these, the waning days of 2011, I decided to take a moment and reflect on the year that was in the world of motion pictures. Here in no particular order are some of the highs and lows:
(1) Battle: Los Angeles vs. Battle: South London
This is no contest – South London hands down! Thanks to the gem of a film Attack the Block. Sure the kids are not trained thesps, the budget was low and the aliens are basically fur balls with LED fangs, but they will win out every time to having Ne-Yo in my company of soldiers.
(2) Silence is Golden (and potentially Oscar-bound)
The Artist has captured hearts and minds the world-wide. It is a magical transport to a time and place too soon forgotten.
(3) The Last Time I Saw Paris …
Was at the cinema. Sure I went to Paris this summer, but the Paris of Woody Allen‘s imagination in the absolutely gorgeous Midnight in Paris was an experience that left a huge smile on my face.
(4) A Girl Walks Into a Bar …
… and I walk out. This Straight to YouTube feature (we are told the first of its kind) really bored me with its very self-aware level of quirk and supposed sharp, quick and witty dialogue. But maybe that is the point, some people like that type of stuff. I am just not one of them.
(5) Year of The Fassbender (even GQ Magazine thinks so)
I think at the time of publishing this I would have seen just about every film that he had a principle role in: Jane Eyre, X-Men First Class, Shame and A Dangerous Method. He is getting all sorts of buzz, nominations and awards from his performance in Shame – yeah. And he does not seem to be slowing down in 2012. Worthy particular mention is the release of the hotly anticipated sci-fi horror Prometheus (directed by Ridley Scott).
(6) Superhero Schmuper-Hero
I am pretty much over superhero/comic book adaptations at this point. Things have gotten so that in 2011 when it was announced that we have two reboots of what we were told were already reboots (Superman and Spider Man) I was less than thrilled. Granted, I liked X-Men First Class and Captain America (but skipped Thor) and will probably skip a few that come along in 2012.
(7) So Long Dear Friends
I will not attempt to go through the list of all of those that were lost in world of cinema, so I will defer to the lovely and haunting tribute that TCM has put together in memory of ….
(8) Reading is Fundamental(ly) Rewarding
Readers this year were rewarded for their loyalty with some quality movies being released that are based on beloved books. This is one reason that Harry Potter, The Help, The Girl With the Dragon Tattoo, among others, occupy precious space on my bookshelf / Kindle Fire.
But I guess there is always an exception that breaks the rule:
Something Borrowed
(9) Who Knew? Ladies, We Can Be Funny Too!
Maybe the response to Bridesmaids was an overreaction due to the drivel that has been shoveled at us and called ‘comedy for ladies.’ And maybe it was not. I went to this film by myself and laughed quite a lot. Well done, Kristen Wiig and co! Let’s just hope that we do not have any downwind derivative comedies of a similar ilk (who am I kidding, eh)?
(10) Potter-ing is such Sweet Sorrow
What an epic end to a film and book franchise that I came to so late but wholeheartedly loved (insert sad face).
(11) And last but not least …
To all my faithful and loyal readers/commenters who have made it a pleasure this year for me to post my thoughts and reactions from the world of cinema. Your voices have made this part of my life very rewarding and for that I sincerely thank you.
A Dangerous Method (2011) directed by David Cronenberg
UK Promotional Poster
A Dangerous Method is a historical drama based on the stage play The Talking Cure by playwright Christopher Hampton * (Dangerous Liaisons -play and screenplay, Atonement – screenplay). David Cronenberg, director of sci-fi thrillers Videodrome and The Fly (1986), and most recently of A History of Violence and Eastern Promises fame, directs the cast which includes Keira Knightley, Viggo Mortensen as Sigmund Freud, Michael Fassbender as Carl Jung and Vincent Cassel as Otto Gross.
A Dangerous Method tells the story of the relationship between Jung and Sabina Spielrein (Knightley), a patient he is treating for a psychosexual dysfunction. His fascination with the nature of her condition leads him to employ the analytical method of Freud (“the talking cure”). He goes to Vienna where he finally gets a chance to meet his idol and ‘father figure.’ Although the two gentlemen get along, there is an air of tension about; the film portrays this as being partly down to Freud’ possible resentment of the comfort in which Jung lives, courtesy of his wife’s wealth.
Back home in Switzerland Jung and Spielrein’s doctor-patient relationship develops into a friendship and eventually leads to a sexual relationship. The consummation of this relationship, one could imply, is as a result of Jung’s conversation about human nature and desire with Otto Gross, who himself is referred to Jung by Freud.
It is at this point that Jung’s relationship with Spielrein takes center stage and its implications become one of the primary drivers that place a wedge between Freud and Jung.
Not necessarily know for fully straight-on dramatic pieces, much less one based on historical events, this is a change of pace for David Cronenberg. I like to think of this as a kindler, gentler Cronenberg, even if the subject matter, which deals with psychoanalysis and sexual repression/expression, is quite layered and complex.
Christopher Hampton’s intimate knowledge of the source material shines through and allows the film to be adapted and expanded cinematically. Too often when a story is translated from stage to screen, it presents a great challenge for the screenwriter – how to make the environs, which are initially dramatized for the restrictive space of a theater’s stage, breathe.
Viggo Mortensen transforms himself (yet again), this time as the father of psychoanalysis. So much of his portrayal of Freud is in the nuanced looks, glances and expressions. These nuances told me more than any speech or soliloquy could possibly have. I am not sure another actor would be able to pull it off. It has been often stated that some director-actor pairs create something special on screen. In my opinion, this film confirms what I already know about the pairing of Cronenberg and Mortensen – they are such a pair.
Fassbender’s Carl Jung is a man who despite all efforts to repress his desire, finally surrenders. Similarly, you can see the tension and anguish on his face and in his body. This is yet another in a string of performances where Mr. Fassbender takes full possession of his character.
Rounding out the ‘big three,’ Keira Knightley turns in a solid performance as Sabina, a woman who starts off as a ‘mad woman’ to a refined but still passionate doctor who affects Jung and Freud in ways they could not imagine. I have always been a fan of Ms. Knightley and she seems to be coming into her own as a thespian who is constantly seeking to challenge herself with complex and demanding roles.
In an all too brief appearance as Otto Gross, Vincent Cassel’s “and” credit is more than deserved. In his brief time on screen, he accomplished what was asked of him – he turns the tables on the doctor-patient interaction and in his talks with Jung creates a point of crises in Jung from which there was no turning back.
Last, but certainly not least, lying in the background of the film but ever present is the lovely musical score by Howard Shore, frequent Cronenberg collaborator who is a three-time Academy Award and two-time Golden Globe winner for his work on Peter Jackson’s The Lord of the Rings trilogy; he was also nominated for a Golden Globe Award for his score for The Aviator, directed by Martin Scorcese.
Solid direction, fantastic writing and very fine performances, courtesy of an outstanding cast, make this film a must see.
* The play itself is based on the book, A Very Dangerous Method, written by John Kerr.