How Long Can Two People Talk?

A different kind of film than the one I reviewed in my last post, and I might earn the wrath of Woody Allen and Nicholas Sparks for this one. Well, if they clone themselves five hundred times and I tie an arm around my back, it might be a fair fight.

“Think of this as time travel, from then, to now, to find out what you’re missing out on. See, what this really could be is a gigantic favor to both you and your future husband to find out you’re not missing out on anything. I’m just as big a loser as he is, totally unmotivated, totally boring, and, uh, you made the right choice, and you’re really happy.” ~ Jesse

“If there’s any kind of magic in this world, it must be in the attempt of understanding someone, sharing something. I know, it’s almost impossible to succeed, but... who cares, really? The answer must be in the attempt.” ~ Celine

"You know what the worst thing about somebody breaking up with you? It's when you remember how little you thought about the people you broke up with and you realize that's how little they're thinking of you. You know, you'd like to think you're both in all this pain, but they're just like, hey, I'm glad you're gone." ~ Jesse

"You know, I have this awful paranoid thought that feminism was mostly invented by men so they could like,  fool around a little more. You know, women, free your minds, free your bodies, sleep with me. We're all happy and free as long as I can fuck as much as I want." ~ Celine

“I feel like this is, uh, some dream world we’re in, y’know?” ~ Jesse 

“Yeah, it’s so weird. It’s like our time together is just ours. It’s our own creation. It must be like I’m in your dream, or you’re in mine, or something.” ~ Celine

In 1995, director Richard Linklater, who had earlier directed the films Slacker and Dazed And Confused, brought a new film to the big screen, a romantic drama set over a single night called Before Sunrise. It features a young couple meeting and spending a single night wandering through Vienna, getting to know each other, and letting the audience get to know them by extension. A story with minimalist plot, the tale is instead a character study with tremendously likable lead characters. It would lead later to two sequels with the characters in other cities, carrying on conversations at later points in their lives.

We meet the pair, Jesse (Ethan Hawke) and Celine (Julie Delpy) on a train heading west through Austria. They strike up a conversation, and there’s a spark between them. Jesse’s getting off in Vienna for a flight back home to America the next day. Celine is on her way home to Paris. When they reach Vienna, Jesse makes a proposal- he wants to keep talking with her, asking her to join him in wandering Vienna for the night. She’s charmed by him, and agrees, and the pair step off the train. They take in the sights of Vienna, a city Celine has been in before, and keep up their conversation, learning more about each other, bantering and sparring, and sharing their dreams.

Linklater co-wrote the script with Kim Krizan, inspired by an encounter with a woman years earlier in which Linklater spent hours conversing long into the night. The script takes these two characters out of their usual element, both in a foreign country with the benefit of anonymity, and lets the two get to know each other through the course of the story. Apparently it was a quick script to write between the two at eleven days, but the characters are fully realized, given depth in their world views and personalities, and feel authentic. The tale is one of self discovery all while these characters get to know each other. They’re smart in different ways, have strong opinions, and engage each other with ideas in a way that’s compelling. I’m struck each time I see this film by how strong a difference there is to Woody Allen films, which are so often talkfests, but irritating (Woody Allen’s chronic whining neurotic personality wears out its welcome inside of a minute for me). These characters are appealing and thoughtful, and even when they have their own self-doubts, it never comes across as whining. Instead they come across as natural.

While the two leads are the only major characters (aside from transitory characters the pair encounter during the night), it can be said that Vienna itself is a character in the film, as the pair roam, visit places, and engage in the culture and night life of the city. Linklater filmed on location, taking full advantage of the beauty of the city, so the film is something of a travelogue as well. As the movie unfolds, we see a lot of Vienna in different ways. The directorial style still emphasizes the strong characterization, focusing on Celine and Jesse throughout. Aside from taking in Vienna’s beauty, Linklater’s style stays centered on his leads. That style reflects itself in how these characters relate early on- moments of shyness as they’re getting to know each other, most particularly in the glances they give each other in a listening booth.

Linklater apparently saw many actors before he chose his lead pair, and the way they did a reading of the script convinced him they were perfect for the roles. Julie Delpy has done most of her work in France, and she’s just right as Celine. The character is intelligent, warm, creative, matter of fact; she has strong opinions, is wise in her ways, and worries that she might come across as too obsessive- her remarks about worrying that an ex-boyfriend will end up meeting a bad end and she’d be the prime suspect reflect that in a funny way. Celine’s world view on many things is explored- feminism, rebellion, family, belief, and the nature of existence. She’s a fully formed woman, complete unto herself, which makes her all the more appealing.  

Ethan Hawke turned out to be ideal as Jesse, who’s romantic at heart and yet hides that under a veil of cynicism. There’s a sense of whimsy about him at times, a wry sense of humour, and self deprecation that’s refreshing. As cynical as he might initially come across as, there’s a sense of hope and optimism in the character. It takes awhile before these characters actually bring up the topic of their romantic situations and why they’re single, and I like Jesse’s honesty about his recent break-up; his remarks about how little one thinks of the person they’ve broken up with in the past ring true. His honesty about feeling like he’s coming across as if he has no idea what he’s talking about is also refreshing- all while Celine counters that in just the right way. There’s a dreamer in Jesse, a quality that we see strongly in Celine as well, and it makes them so very appealing to the audience.

Before Sunrise, like Before Sunset and Before Midnight after it, is an exploration of human nature between two characters, with time as a featured player. It’s a tremendously appealing romance as these two get to know each other. While Celine and Jesse are falling in love, the audience is all the while falling for both of them; we feel such a strong connection to these two, which makes the movie all the more satisfying. This movie is a critical and audience favourite, with characters who have such richly layered, grounded, authentic personalities. I love the spirit and the intelligence of the film, which is fresh no matter how many times one sees it. Considering how these days romantic movies tend to consist of endless tedious Nicholas Sparks adaptations (which, by the way, constitute cruel and unusual punishment- do your worst, Nicholas Sparks fans), this film is the right kind of romantic movie.

33 Men In A Wee Bit Of Trouble

“Thirty three men trapped underground, and we don’t even know if they’re alive?” ~ Sebastian Pinera

“It’s not a question of if it falls, but when.” ~ Andre Sougarret

“I’m not leaving without him.” ~ Maria Segova

“That’s not a rock. That’s the heart of the mountain. She finally broke.” ~ Mario Sepulveda

In 2010, the world was transfixed to a two month long story coming out of the high deserts of Chile, where thirty three miners, trapped deep beneath the earth after a collapse, were discovered alive. Massive efforts were undertaken to rescue them, and the story had an uplifting ending, broadcast to the eyes of the planet. The startling tale, something we just couldn’t believe if it didn’t really happen, is now in theatres with an international cast in the new film The 33, by Mexican director Patricia Riggen.

We’re introduced to the various workers in the San Jose mine, a copper and gold mine in the Atacama desert, an inhospitable place. The owner of the mine has not been taking seriously the concerns that the mountain is becoming increasingly unstable. The men working the mine do this despite the danger. And of course the worst happens- the collapse occurs, and it is catastrophic. All of the workers survive, but they find themselves well and truly trapped, their communication with the outside world cut off, and their supplies low. Above, the company drags its heels, the families maintain a vigil and press for something to be done, and the government intervenes in what becomes a rescue effort.

Watching this film, I remembered the story as it had unfolded on the news. From the stunning revelation that the miners were all alive to the final extractions of each and every one of them, it was a story that spoke to the strength of the human will and the tenacity of human resourcefulness. So of course it was inevitable that someone would end up making a movie about it. The challenge in this case is to make a movie, maintaining suspense, when everyone knows how it all ended.

Patricia Riggen and the writers Mikko Alanne, Craig Borten, and Jose Rivera worked with the miners and their families, crafting a film that tells the story both above and below, focusing on several key figures in the event. With thirty three men below and many people above, there’s really only time to focus on some of them, so some characters are more fleshed out than others. Filming was done in South America, including near the actual site. It has the feel of a disaster movie early on, working into more of a suspenseful film after the cataclysm as those above and below find themselves dealing with the situation at hand. Certainly Riggen handles the technical aspects of the collapse very well- it feels harrowing when it happens, and she captures the claustrophobic feeling of this space throughout the film, as well as the tension.

The cast were well chosen, coming from a multitude of countries. Bob Gunton, who’s been in countless character roles on television and film, appears as the president of Chile, Sebastian Pinera. His minister for mining, Laurence Golborne, is played by the actor Rodrigo Santoro. The character is most directly responsible for overseeing the rescue efforts, while letting the people doing the actual job get their job done. This is the first time I’ve seen him in anything that I liked- he previously played the villain in the 300 movies, as well as a retconned-in character in the television series Lost, characters I found irritating, but that was less because of the actor and more because of the writing. The two characters find themselves dealing with a situation that is both crisis- particularly in terms of initial response- and then opportunity.

The Irish actor Gabriel Byrne turns up in a role with a good deal to do, as the engineer Andre Sougarret, the man overseeing the rescue efforts. Byrne gives the character the sense of competence and professionalism you’d expect, both out of the actor and out of a man in that profession. He’s facing a serious challenge here, and as daunting as it is, he lives up to it. Juliette Binoche turns up in the film as Maria Segova, whose brother Dario (Juan Pablo Raba) is among those in the mine, and with whom she has some unfinished business to resolve. Maria becomes a strong voice among the families of the miners, determined to see them brought back safely. Binoche plays to that- she’s the sort of actress who could make reading the phone book fascinating.

There is a problem of course in filming miners in dark places- how does one tell one character from the other if they’re all grubby, in helmets or masks? Some of the miners get more exposure than others. Raba’s role as Dario provides for some of the family drama- the rift between he and his sister provides some of the tension as well as the regret. Jacob Vargas provides some levity as Edison “Elvis” Pena, so nicknamed because of his fondness for Elvis music. Mario Casas is Alex Vega, a miner with medical issues of his own trapped in a place he’d rather not be in.

The two actors who really get the most exposure among the miners, and who give the strongest performances of the film, are Lou Diamond Phillips and Antonio Banderas. Phillips plays the shift foreman Luis Urzua. The character already has reservations about the state of the mine early on, and there’s something of a pessimistic streak in the man that plays out in the film. And yet there’s a strong sense of the man as capable and organized, things that Phillips plays to in his performance.

Banderas plays Mario Sepulveda, a man who became a public face for the miners, and a strong leader among them, particularly early on while no one knows they’re actually alive. He’s a voice of reason for the others, handling a crisis in just the right way, defusing tensions and despair, and keeping things in order. As much stress as he must feel, Sepulveda succeeds in keeping the others from panic, and these elements that Banderas plays to bring out the best in the actor.

The film does trivialize certain elements- the early political missteps, some stories being set aside in favour of others, the fact that the miners have not been properly compensated, some Hollywood fudging of facts, for instance. It is a big story, something that has to be condensed into a couple of hours, but The 33 does hold our attention, keeping its audience on edge and tense. Yes, we know how it all ends, but watching it unfold is compelling, and ultimately inspiring.

A Day In The Life Of A Cat

And so we come to that time when the floor and all attention must be given to the resident cat, for her point of view on things like dogs, servants, and early snowfalls...

7:25 AM. Waking up at home. Feeling nice and toasty. Furnace is on, and I’ve got myself nicely perched right by one of the heating ducts. Okay then, let’s get the staff ready to make my breakfast...

7:27 AM. Looking out the windows. Well, look at that. We got ourselves a whole lot of snow last night. And it looks like this is the kind of snow that’ll stick around until April. Or May. Or June. Hmmmm, maybe it’s just my imagination, but I could swear I heard someone scream just now.

7:31 AM. The staff comes downstairs. Well, hello, staff, did you scream for some reason a few minutes ago? No? Okay, must have just been my imagination, or my hearing’s better than I thought.

7:34 AM. Profoundly disappointed by the staff, who has once again given me field rations. I sigh with dismay and step out of the kitchen.

7:46 AM. Demanding the staff let me out. Meeeeeeeeeeoooooooowww!

7:47 AM. Out the door and onto the deck. Rather cold this morning.

7:49 AM. I can hear the distant barking of that annoying mutt from down the road. Any chance we can arrange an avalanche to rub him out?

7:50 AM. Strolling through the snow. Okay, that’s enough. Time to go back in.

7:51 AM. Demanding the staff open the door and let me back in. Come on, staff!

7:52 AM. Up on the kitchen windowsill, pacing back and forth. Staff, I know you can hear me!

7:53 AM. The staff finally opens the door and suggests I wasn’t out that long. That’s what you think. 

7:59 AM. I decide to have some of those field rations. One of these days I really have to get my staff to seriously rethink her breakfast options.

8:15 AM. Okay, what now? Do I take a nap? No, I’ve only been awake for less than an hour. Attack the scratching post? Maybe later. Stare at the staff for no reason whatsoever? That sounds promising. How about taking to one of the upstairs windowsills and surveying the vastness of my domain?

8:31 AM. Staring out at the lawn. Movement out there at the woodline.... oh, come on! Dog, take a hint! I don’t like dogs, and I don’t like you!

8:32 AM. Expressing my loathing of that irritating mutt in a way that best expresses myself- giving him the finger.

8:33 AM. The dog takes his leave. Don’t come back, you hear me?

8:38 AM. Coming back downstairs. Staff, tell me, because I’ve wondered this for a long time. What purpose do dogs serve in this universe? Because I assure you, I don’t get it.

8:51 AM. Okay, I’ve been up for an hour and a half now. I think it’s fair to take a good nap now, right? Curling up near the fireplace. Nice and warm.

12:36 PM. Waking up. Slept well. Dreamed of that annoying dog being chased by the vet.

12:41 PM. Looking outside. Even through the window I can hear the distant sound of that dog barking. What’s got his tail in a knot this time?

2:31 PM. That dog’s still barking. I wonder if his bark is ever going to run out. And I wonder what’s got him this irritated.

3:01 PM. Examining the issue by some websurfing. According to this site, apparently dogs are irritated most by squirrels, vets, mailmen, having their tails pulled by bratty kids, and the French.

Wait a minute, the French?

3:15 PM. Perched on a windowsill. No sound of that dog in the distance, so either he finally had enough of barking at whatever, or his humans finally insisted he come in.

5:35 PM. Waking up from latest nap. Feeling refreshed.

6:32 PM. Having dinner with the staff. Shredded chicken and a bowl of milk. Staff? This makes up for breakfast. Just so you know.

11:36 PM. The staff is off to bed. Good night, staff. Keep the door open. If I feel like coming up at four in the morning and jumping up on top of you, I would prefer not to have to meow at a closed door first.