The Art Of The Jewel Robbery

“All right, here we go. Don’t sleep. Don’t sleep, because you might disappear.” ~ Constance

“Taylor Swift? Can’t we just go to this? Do we have to steal stuff?” ~ Amita

“This is Mommy’s very special work trip.” ~ Tammy

“People who steal, man, they’re just not trustworthy.” ~ Lou

“In three and a half weeks, the Met will be hosting its annual ball, and we are going to rob it.” ~ Debbie

It’s been a few years since the Ocean’s trilogy from director Steven Soderbergh, and now a follow up has hit theatres. The original gang led by George Clooney’s suave Danny Ocean aren’t involved this time out (though there are cameo appearances by a couple of them). Gary Ross has replaced Soderbergh at the helm for Ocean’s Eight, but the concept follows through on the franchise- a group of likable anti-hero crooks aim to pull an audacious heist. This time the gang are all made up of women, and the cast clearly is having a whole lot of fun in what turns out to be a playful addition to the caper genre of film.

We meet Debbie Ocean (Sandra Bullock), the estranged sister of Danny Ocean, who’s spent over five years in prison before making parole. Reunited with one of her old partners in crime, Lou (Cate Blanchett), she has a heist in mind. And she has a score to settle with Claude Becker (Richard Armitage), her ex who happened to be the reason she ended up in prison. Debbie and Lou recruit a group of women to carry out a daring heist of an insanely pricy necklace during the Met Gala, one being worn by actress Daphne Kluger (Anne Hathaway). Like brother like sister it seems for Debbie Ocean, and of course there are going to be complications along the way.

Soderbergh said after his trilogy was done that there would not be an Ocean’s Fourteen, particularly following the death of Bernie Mac, part of the crew of thieves in the trilogy. The idea of a follow up with a cast of women was floated about, however, gaining steam some years ago with a script in development from Gary Ross and Olivia Milch. Their story fits the tone of the earlier films- a breezy, fun energy, a group of likable crooks with different personalities and idiosyncrasies, a preposterous plan for a heist, a target who deserved getting robbed, and the carrying out of the crime.

As before, the film paces itself well, in a charming and stylish way, with a wealth of cameos (this being a fashion gala, some of those cameos are more welcome than others), but all in all, the tone of the story has the same smooth, funny energy of the earlier films. Ocean’s Eight isn’t quite at the level of Ocean’s Eleven, but it does well on its own merits. It doesn’t make the mistakes of the Ghostbusters reboot- first, this doesn’t feel like a supplanting of the original film, which outraged the socially demented fanboys, and second, the cast doesn’t include Melissa McCarthy, which was my objection to that reboot. Nor does the story seek to replace the earlier cast, but to take things on its own terms. It helps that these women aren’t portrayed as bickering with each other, at least not seriously, something you wouldn’t see in other films, and the story adds in twists and turns along the way that are refreshing and fun.

Ross as a director is a good choice for the film. He’s written or directed (or both) in a diverse set of films- Seabiscuit, Pleasantville, Dave, The Hunger Games, Big, Mr. Baseball. That’s an impressive resume, and his previous work shows he understands the emphasis of strong characterization and working with actors, as opposed to being the sort of director (Michael Bay, I’m looking at you) who relies on pyrotechnics and quick cut edits. That reflects itself in how he paces the film, and how it’s shot. The emphasis is on the characters, and everything else is in support of that. Yes, making use of the Met Gala, what to most normal people is an insanely over the top self-congratulatory bit of nonsense from the fashion industry, might in other hands overwhelm the story, but that doesn’t happen with the way Ross handles his direction. He gives us the sleight of hand we expect out of the genre, keeps track of the heist as it’s planned and as it unfolds, but always keeps us with the characters instead of lost in the crowd.

Casting was well done all around. Richard Armitage, who spent three films as Thorin Oakenshield in The Hobbit, plays a considerably less likable type here as Claude Becker, an art dealer. He was involved with Debbie before her time in prison, but screwed her over and got her sent away for fraud while he cheerfully walked. And so it’s understandable that Debbie might like a bit of payback against him. Armitage gives the character the requisite bit of charm that glosses over the sleazy, disreputable truth of who he is, ending up as the film’s highly unsympathetic antagonist. Late night host and occasional actor James Corden has a fun role as Frazier, an insurance fraud investigator who has his own suspicions about the group of women.

Rihanna as a musician isn’t to my taste, and the last time I saw her acting was in the cinematic catastrophe Battleship, in which she seemed completely out of place (but to be fair, nobody came out of that film looking well). She gets a different part, and one that suits her better, as Nine Ball (not her real name), a computer hacker and tech genius (because a heist film requires one of them). She fits the role well, giving the character a snarky, wiseass energy. Another musician taking time out to act in this one is the rapper Awkwafina (definitely a stage name), who gets her share of the film’s humour as Constance, a street hustler and thief who’s good with the sleight of hand trick. Her character has more of that snarky quality, along with a streetwise sensibility and a hunger for more. I liked what she did with the performance.

Mindy Kaling, who’s done a lot of television work in particular, is new to me with this film, but I’ve been familiar with her name. She gives the role of Amita a fun, exasperated take. The character is a jewelry maker who lives with her overbearing mother (a character in and of herself). The idea of making enough money on a heist and getting away from her mother holds a certain appeal, and the actress makes her likable and someone we can sympathize with. Sarah Paulson is one of those actresses you’ve seen in many television and film projects, both comedy and drama, most recently a supporting role in The Post. She might seem initially serious- and many of her roles have required her to be- but here she gets a character who’s a sly sort with a twinkle in her eye, particularly as she gets deeper into the heist. She plays Tammy, a suburban mother who has worked with Debbie before on crimes, and is still something of a crook even in suburbia. Her Tammy, seemingly peaceful (but bored out of her mind) with suburban life, comes to life with the idea of going after a heist, and the actress seems to be having a blast playing the part, which comes across through the film.

For whatever reason, Anne Hathaway has been the subject of a lot of online hostility (I don’t get it, but that’s me). Whatever is said about her personality in general, she seems to be taking that and putting it into her character with a lot of self-referencing and poking fun at her reputation. Daphne is the target of the heist- or to be more exact the necklace she’s to wear at the gala is the target, seemingly a self absorbed actress who craves attention, but there’s more to what makes her, and Hathaway ends up gleefully stealing scenes and comes across as enjoying herself.

Helena Bonham Carter is always a joy to watch in a film, with such a rich variety of roles throughout her career. Often they’re eccentric; some are unsympathetic, while others evoke empathy. Here it’s the latter, as she plays Rose, a somewhat nervous, withdrawn, and worrying fashion designer who is part of the heist. She’s far more human than the fashion icons we seen in various cameos during the film (a very good thing), and a bit hesitant to step into a life of crime, but vital to the plan. She really comes into her own, though, as a member of the team, shifting from worrisome to boldness (with a hint of worry), and it’s a treat to watch the actress bring out different nuances to the character.

Cate Blanchett is another actress who’s always compelling to watch, and she’s clearly having fun as Lou, Debbie’s partner in crime from before prison and the first person recruited into the heist. Lou has worked with Debbie before, and they’ve got complicated history with each other. They’ve also got trust and know that they can rely on each other. Her take on the character is a smooth, calm in the face of obstacles, and level headed sort- with the right touch of sarcasm and wit. You can’t help but like the character, even if you’re compelled to check your pocket for your wallet anytime she’s around.

Sandra Bullock has the right touch in the lead role as Debbie Ocean. She brings some of the same steady, affable charm that Clooney invested in Danny Ocean, and some of the same amused disregard for the rules. The actress has an innate likability, and so when we learn the circumstances of how she ended up in prison, we’re both rooting for her and wanting to see the comeuppance of the man who put her in that situation. Bullock also plays her role as the sort of person who other crooks will follow into a high stakes plan, and the right touches of humanity throughout her performance. And she happens to have great chemistry with Cate Blanchett, which plays out through the film. It helps that she seems to be having fun the whole time.

Ocean’s Eight turns out to be a worthy successor to what’s come before, a breezy and fun caper film with a fine ensemble of likable crooks among the characters, and a thoroughly unredeemable jerk in the mix. The actresses come across as though they were thoroughly enjoying themselves during production, and it shows. Director Gary Ross paces the story well, giving it an energetic, light tone in all the right places, and the final result is a treat to watch.

So You Want To Conquer Death?

With Hallowe'en coming, I thought I would review three films appropriate for this time of year. This is the first.

“I do know that for the sympathy of one living being, I would make peace with all. I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge the other.” ~ The Creature

“There was something at work in my soul which I do not understand.” ~ Victor Frankenstein

“Lives come and go. If we succeed, our names will live on forever. I will be hailed as the benefactor of our species.” ~ Captain Walton

"I'm here to become a mere doctor. I'm told that has something to do with healing the sick, which is a pity, really, because I find sick people rather revolting." ~ Henry Clerval

“I’m frightened that if I tell you the truth, I’ll lose you.” ~ Victor Frankenstein 

“You’ll lose me if you don’t.” ~ Elizabeth

In 1994, Mary Shelley’s Frankenstein came to theatres, as something of a companion film to the earlier Bram Stoker’s Dracula. The first film had been directed by Francis Ford Coppolla with a screenplay by James V. Hart, and both men were producers for this adaptation of Shelley’s classic horror novel. Directed by Kenneth Branagh, who starred as the overly ambitious scientist trying to conquer death by creating life, the film is overwrought and operatic at times, but also faithful to the source material, presenting a different take on the monster and the man who created him.

The film travels back and forth in time, much of it as an extended flashback, a story told in 1794 by a depleted Victor Frankenstein (Branagh) to Robert Walden (Aidan Quinn), a ship’s captain in the Arctic obsessed with reaching the North Pole. He reveals his tumultuous history, growing up as the son of the Baron Frankenstein (Ian Holm) and his wife Caroline (Cherie Lunghi), along with the young girl they took in when he was a child, Elizabeth, who grew to be the woman he loved (Helena Bonham Carter). The death of his mother in childbirth becomes the great shattering blow for the young Frankenstein. He vows that no one ever need die.

At medical school, Victor makes friends with a classmate, Henry Clerval (Tom Hulce), challenges his professors, including Professor Waldman (John Cleese), who harbours his own murky secrets about experiments in life and death. Victor begins to conduct his own experiments, heedless of the consequences, determined to cheat death by creating life. Assembling his creation by stitching together body parts, he brings it to life, but finds it to be a failure, renouncing the course of action he took. His creation (Robert De Niro), however, has other ideas.

The screenplay by Frank Darabont and Steph Lady closely adapts the novel (though Darabont himself has stated his own issues with the finished product). It weaves together themes like madness, selfishness, obsession, ambition, the meaning of existence, and the consequences of actions- or disregard for consequences- all of which run deeply through Shelley’s narrative, which is one of the reasons it resonates so deeply as a classic. Including the framing device of Captain Walton’s presence as a bookend for the beginning and ending of the film was something that hadn’t been done before- the character appears in the book, but not the various movies. It gives a different structure to the film and different nuances than earlier versions.

The story also presents the creature in a different way. He’s been presented in films as a sad wretch or a killing machine (and truthfully those can be seen here), but the script gives the creature depth, showing him as a new life trying to understand his place in the world, and driven to destruction because he’s been rejected by the world. As time goes on, the creature shows himself to be a mixture of intelligence and puzzlement, scarred by a horrible appearance and capable of profound thought. His relationship with his creator is a contrast- Victor fears what he created but also is capable of pity for him, while the creature both hates the man who rejected him but also views him as a father.

Branagh’s directing and cinematographic style throughout the film tends to be grand, dramatic, over the top, and frantic at times, perhaps best expressed in the creation sequence, with rapid edits, swooping camera shots, and Gothic set pieces. The film has an operatic quality, perhaps to the point where we wonder if the film itself has become something of a monster of the director’s creation. And yet the film is also rooted deeply in horror, as it should be. Branagh effectively brings to life an eighteenth century setting in terms of the locations chosen for filming- the Frankenstein manor feels like quite a grand place. The same applies to the costuming and props the crew contribute to the film, giving an authenticity to the film. Even the machinery Frankenstein uses feels plausible for the era.

And the look of the creature, essential to the story, is well rendered through make up and prosthetics- De Niro looks stitched together and scarred, limping along, as his legs are uneven; he does look like a nightmare. The film got an Oscar nomination for its makeup effects, and that’s well deserved. The score by Branagh’s frequent collaborator Patrick Doyle matches the mood of the film: occasionally intimate, but often Gothic, brooding, and operatic, rising to the point of nightmarish at times.

The cast is well chosen. Ian Holm, who had worked with Branagh before, is well cast as Baron Frankenstein, a wise and kind man, the patriarch of his family. Cherie Lunghi plays his wife- at least until her death early on in the story, and they make a believable, grounded couple; the viewer might wonder what Victor might have turned out to be like had his mother lived. Would Victor have ended up following his dark obsession without heed of the consequences?

John Cleese, who’s known as a comedic actor, instead plays the professor Waldman with gravity and seriousness, no trace of the wink in the eye that you’d expect of the actor. Tom Hulce takes what could be a cliché character and works well with it. Henry is loyal to a fault, an intelligent man who’s something of a bumbler at times. He befriends Victor early on, stays friends with him, and in fact acts as a voice of conscience to him. Even if Victor isn’t heeding Henry’s warnings of the course he’s chosen- Victor listens too often only to his obsessions- that voice is needed, and Hulce brings that across through the film.

Aidan Quinn’s presence at the beginning and ending of the film, providing a framework for the story, restores Shelley’s narrative flow from the book, and his character provides a counter balance to Victor’s obsessions. When we first meet Captain Walton, we see a man driven by ambition to make his place in history, so much so that he’s disregarding the discontent of his crew, all of whom are worried about being trapped in Arctic ice and their prospects of reaching home again. After hearing Victor’s story, and seeing with his own eyes the creature that was the result of his obsession, Walton is able to do what Victor could not- turn back from his ambitions before it’s too late. He’s humbled by what he sees, takes lessons to heart, and treats the creature with sympathy, treating him as a human being, something that the creature has rarely experienced. It’s a good touch for the character, and the actor conveys that personal shift- from obsession to epiphany- in the right way.

Helena Bonham Carter is well cast as Elizabeth. The character is a mix of seriousness, spirit, and enjoying life. There is intelligence, life, and energy in her, in a way that you might not expect out of a woman in the 18^th century (a nod to the author herself). Carter’s performance gives Elizabeth depth and makes her complete in and of herself. That shows itself in how she deals with Victor- the romantic bond is certainly believable, but she is also able to give Victor enough of an ultimatum to pull him back from the edge. And where she ends up by film’s end shows another side of the theme of consequences to actions- her choice demonstrates to Victor that disregarding consequences only ends in destruction.

De Niro has the strongest performance of the cast as the Creature. He first appears as a criminal about to be executed, but spends most of the film as what is supposed to be a monster, and yet turns out to be a mix of terror, pathos, and ultimately humanity. The Creature comes into a world not knowing where he belongs, finds himself driven out by society, and out into the wilderness. Gradually his intelligence asserts itself and he learns how to read and speak, but his fleeting encounters with humanity tend to end badly. The audience can feel for him- and does when we see his pain, both physical and emotional. De Niro conveys that strongly, as well as the sense that the Creature is ashamed of his appearance. When he is finally drawn back to the life of his creator, we see him as something of an intellectual equal to Victor, capable of asking deeply philosophical questions- the question as to if he has a soul certainly is something that resonates deeply. De Niro plays the role as a mix of pity and rage, driven by revenge over his rejection by the world. Ultimately, however, the rage is spent, and his final act is one of compassion and humanity- which makes the character all the more compelling.

Branagh’s take on Victor matches the film itself- Gothic and over the top at times. His best work is opposite De Niro and Carter- especially a conversation Victor and the Creature have amid an ice field in which Victor is trying to make amends. It’s a quiet moment in a film that’s often frantic, and yet it’s one of the best scenes in the film, two master actors in very different positions having a philosophical discussion. The character though is inherently selfish- brilliant but obsessed with his goal to the point of shutting out everything else. At a pivotal moment late in the film, he asks not “are you okay”, but to “say my name”, a telling sign of his selfishness. Victor is so bound in his ambitions and his experiments that he fails to take into account the consequences of his actions- which is one of the things that makes the character and book so compelling. It’s the pursuit of knowledge without taking everything into consideration that continues to make it a classic. Instead Branagh’s Victor learns the lessons far too late of what his obsessions have cost him. It’s only after everything he’s valued has been destroyed and taken from him that Victor understands the penalty of ambition.

Mary Shelley’s Frankenstein does follow the book closely, for the most part, and strongly delves into the themes. Two centuries plus on, the book remains a classic because it asks difficult questions, profound questions that challenge us. In a world with cloned sheep and the acceleration of artificial intelligence, we would be wise to heed its lessons. This film adaptation captures the era well, featuring strong performances in a narrative that does go over the top and completely operatic in its scope at times, but presents the characters with depth and humanity- especially a vengeful Creature who has far more empathy than his creator could have imagined.

Beware The Wrath Of A Cranky Klingon

I have an image blog today. Enjoy!