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FOR YOUR CONSIDERATION
Author(s): Connor
Campbell (TX)
Red Head
Directed by Stephen
Daldry
Written by David Hare
Original Score by Phillip Glass
Edited by Claire Simpson
Cinematography by Seamus McGarvey
Costume Design by Ann Roth
Art Direction by Nick Palmer and Phillipa Hart
Main Cast:
Olivia Thirlby- Lucille
Ball, 20’s
Debra Messing- Lucille Ball, 40’s
Debbie Reynolds- Lucille Ball, 70’s
Kristen Bell- Ginger Rogers
Parker Posey- Katherine Hepburn
John C. Reilly- Gregory La Cava
Javier Bardem- Desi Arnaz
Brooke Smith- Vivian Vance
Philip Baker Hall- William Frawley
Burt Reynolds- Gary Morton
Tagline: “A Woman’s life in 3 days”
Synopsis:
February 23, 1937-
We’re filming Stage Door. This could possibly be the film that will
rocket me to stardom. This is my big break. I am unsure though. I’ve
been told I’ll never make it as an actress. But here I am, signed with
MGM. I’m very lucky that Mr. La Cava has given me the chance to work
with a talented director such as himself. Plus, I get to work with my
best friend Ginger. She’s such an amazing actress and a great friend.
But I am most excited to be working with Katherine Hepburn. I expected
her to be very rude and stuck up but she’s actually quite kind. This is
the experience of a life time, sitting in this studio, shooting a movie
with Kat Hepburn. I couldn’t possibly imagine anything better. By this
time next year, everyone will know Lucille Ball.
I was wrong about Stage Door. I am still an unknown actress.
March 2, 1960-
We’re filming the last episode of The Lucy-Desi comedy hour. Desi and I
haven’t spoken a word to each other except while on stage. It’s one
thing to have Viv and William always fighting each other but when your
two leads aren’t speaking, you should be glad it’s the last episode. I
have suffered too much with him. I got at least 20 phone calls after our
last episode asking if I had been crying. Desi is so stubborn and
arrogant. I can’t stand him any longer. 20 years is long enough. All
things must come to an end. We will file for divorce tomorrow and Desi
will be out of my life forever. I will be a new Lucille Ball.
I was wrong about Desi. We would continue to be friends until he died.
April 25, 1989-
I’m at the Cedars-Sinai Hospital. I have what they call a dissecting
aortic aneurysm. I could have died. I’m so lucky to be alive, here with
my husband Gary on this beautiful day. I’m much better now. My surgery
was a success. I want to leave here as soon as possible and live the
rest of my life happy with my family. This is the life, living life to
the fullest after a brush with death. I will live a long and happy life.
This is not the end of Lucille Ball.
I was wrong about everything. I died the next day after my aorta
ruptured. But I am happy. Dying has let me become the Lucy I always
wanted to be, and for that I am grateful.
What the press would say:
Stephen Daldry’s latest
film Red Head studies 3 days in the life of Lucille Ball. We first see a
young, naïve aspiring actress Lucille Ball as played by Olivia Thirlby.
Second we see a sad, depressed Lucy in Debra Messing and finally we see
a happy, dying Lucy is Debbie Reynolds. The film illustrates a portrait
of everything Lucy was in a 3 day period.
Olivia Thirlby starts us off in 1937 with Lucy shooting the film Stage
Door. She is young and full of hope for her career. Thirlby, who you may
remember from Juno, shines as a young Ball. Her segment of the film sets
the tone of a promising future, the start of something amazing. Her Lucy
is full of promise and anticipation of her future in acting. Her
supporting cast ties the segment together, especially on the part of
Parker Posey who brilliantly portrays Katherine Hepburn.
Debra Messing takes us to 1960 and the collapse of her marriage to Desi
Arnaz. This Lucy has past the prime of her career and she can sense it.
This is also the end of Lucy Ricardo, whom Messing captures brilliantly.
But when the episode stops filming she changes into a mess facing the
end of her marriage. Javier Bardem is sensational as Desi Arnaz. The
chemistry the two share as Lucy and Ricky Ricardo is uncanny and the
cold silence they share off the screen is intense and real.
Finally, Debbie Reynolds takes us to 1989 and the end of Lucille Ball.
This whole segment takes place in a hospital room with Reynolds and her
husband portrayed by Burt Reynolds. These two bounce off of each other
perfectly. This Lucy is once again full of promise for her second chance
at life she thinks she will receive.
Overall, Daldry has captured the essence of Lucille Ball using unique
camera angles and using his surroundings to add depth to his characters.
David Hare’s screenplay couldn’t be any better. The crew, the cast, and
everyone involved in Red Head have accomplished something great. They
have captured the essence of one of the greatest women in the world.
****/****
FYC:
Best Picture
Best Director- Stephen Daldry
Best Actress- Debra Messing
Best Supporting Actress- Olivia Thirlby
Best Supporting Actress- Debbie Reynolds
Best Supporting Actor- Javier Bardem
Best Supporting Actor- Burt Reynolds
Best Original Screenplay- David Hare
Author(s): Jeffrey
(Long Island)
The Price of Prejudice
Directed by Tony Gilroy
Written by Tony Gilroy
Main Cast:
Shohreh Aghdashloo as Farrah Bashir
Chris Cooper as Nick Rochester
Lewis Alsamari as Robert Bashir
with Oprah Winfrey as herself
Tagline: "How can you stand up when everybody pushes you back down?"
Synopsis: Farrah Bashir received the phonecall that her son Robert had
fallen in the line of duty on a Tuesday morning, and immediately sunk to
the floor in a state of complete hysterics. Her family had been a target
of numerous vicious slurs and her husband was beaten brutally to death
in a hate crime just a few months after September 11th, 2001. Her son
had joined the war against terror to show his support for his country.
Now, he had paid with his life. Farrah has a flashback to the week
following her husband's death. Devestated, she is clearly emotionally
unstable and is only functioning properly with the help of her
well-rounded son. Robert is a truly modernized American, almost
completely disillusioned from his Muslim background. Both Farrah and
Robert are frequently tormented by their ignorant neighbor, Nick
Rochester, a lonely man who bitterly and wrongly accuses the Bashir
family of being terrorist associates. In spite of Farrah's protest,
Robert makes a decision to join the army to help fight for his country
and prove to people like Nick Rochester that not all Arab, Muslim people
are terrorists.
Back in the present,
Farrah is not recovering well from the news of her son's death. She is
visually deteriorating emotionally, leading the person who she least
expected to help her recover: Nick Rochester, who has overheard the
tragic events of her life. Farrah and Nick work together to broadcast
Farrah and Robert's story to the world, although Nick is still clearly
uncomfortable around the Arab woman. They publish several news articles
and give local interviews about American perception of Muslim citizens.
Eventually, her story spreads nation-wide, and one night she receives a
call inviting her to be interviewed on the Oprah Winfrey Show. She
graciously accepts, and while on the show, she is moved to tears by the
declaration of her son as a hero. Touched by the story of Farrah and
Robert, Oprah surprises Farrah with a new, large house in a rich
neighborhood. Nick is devestated that Farrah is moving to a new town,
however he does not have the courage to go back on his principles and
former beliefs and tells her that he is glad to be rid of her.
Farrah is heartbroken,
but she manages to overcome her emotions when she moves into her new,
lavish home. A week after she moves in, she comes home from the grocery
store to see it completely vandalized, with ethnic and religious slurs
graffitied across the lawn and garage. Toilet paper hangs from the
trees, and vulgar pictures litter the driveway. Farrah is, once again,
pushed down to one of her low emotional points and breaks down in front
of her home for all of the neigbhors to see. She is shocked when Nick
appears behind her (who had come to apologize to her but instead saw the
crime occur), comforting her and letting her know that he caught the
vandals and made sure that they would never bother her again. Farrah is
relieved that her friend has returned, and after collecting herself, she
and Nick begin to silently clean up the lawn. After a few moments, the
onlooking neighbors walk over to Farrah's home and help her to rectify
it from the wreckage. It is a silent moment of acceptance that Farrah
has, for the first time in years, finally experienced.
What the Press Would Say:
It's not often that the
perpetrators of hate crimes stop to think about the lives of the
innocent victims they attack, but after a mind-blowing and poignant film
such as "The Price of Prejudice", it gives hope to anybody that the
world might come to understand and open up to minorities rather than act
violently towards them out of ignorance. "Prejudice" is the story of an
Arab woman- her country of origin being of no importance to the story-
whose life is turned upside down by a single phone call and the awful
blatant disregard her community shows her following the death of a hero:
her son. But the film has its endearing plot points as well, the theme
of acceptance being the most prevalent.
What exactly does a
person have to do in order to be "accepted" by society? In the main
character's case, her warm heart and compassion does not sway most
people, but ironically it is the most ignorant of all her acquaintances
who seems to have the smallest understanding of Farrah's troubles
(because he, himself, is completely alone in a world that could do
without him). Tony Gilroy, the director of legal thriller "Michael
Clayton", returns to film with this importance piece and no director
could have done a better job. Gilroy's directing and screenplay takes a
thankfully non-preachy approach to showing the disturbances caused by
prejudice in society. Gilroy makes sure that the only thing that the
audience will depreciate about the film is the pain inflicted upon
Farrah Bashir. The character of Farrah Bashir is difficult to discuss
without reminding everybody of the stunning Shohreh Aghdashloo (people
will remember her from her critically acclaimed, Academy Award-nominated
role in the depressing House of Sand and Fog), who truly embraces her
character and pumps an enormous burst of life and realism into Farrah.
Shohreh's haunting voice is memorable enough, but when coupled with a
performance that has such emotional baggage, audiences and critics won't
soon forget her. She is the strongest actress this year, no exceptions;
she is possibly even the strongest of the decade.
Her two male screen
partners are polar opposites, Chris Cooper's Nick is a very dynamic
character whose changes throughout the movie are part of the film's
strongest emotional points. Cooper is by far the most effective and
subtle character in the film, his acting is sure to be one of "Prejudice"'s
biggest praises. On the other spectrum of the male characters, there is
Shohreh Aghdashloo's on-screen son, Lewis Alsamari, the British actor
and author who audiences will remember from United 93, though his
persona is considerably different in this film. Alsamari's Robert is
perhaps the most humane and relateable character in the film. Alsamari's
screentime nears around 20 minutes throughout an endearing flashback
scene, but his presence is never completely gone from the viewer. His
performance gives the audience just enough to appreciate him as a
person. "The Price of Prejudice" is a lyrical masterpiece concocted by a
masterful director and a magnificent cast. Its message is strong: all
people deserve their chance to prove themselves as human beings. There
is little to no political backdrop in the film, which people will be
thankful for. "Prejudice" simply tells a powerful story of a woman who
wants a country that came together after a tragedy to treat her with the
same respect, especially in the aftermath of her own personal tragedies.
For Your Consideration:
Best Picture
Best Director - Tony Gilroy
Best Actress - Shohreh Aghdashloo
Best Supporting Actor - Chris Cooper
Best Supporting Actor - Lewis Alsamari
Best Original Screenplay
Author(s): Ryne
(Portland)
Sweet Charity
Directed by Rob Marshall
Written by Rob Marshall
Main Cast:
Reese Witherspoon as Charity Hope Valentine
James Marsden as Oscar Lindquist
Amy Ryan as Nickie
Michelle Monaghan as Helene
Jack Black as Herman
With cameos by: Matt Damon as Vittorio Vidal
Gwyneth Paltrow as Ursula
Will Farrell as Daddy Brubeck
Tagline: "The Fickle Finger of Fate is Back"
Synopsis: Charity Hope Valentine (Witherspoon) has finally found true
love. As she rounds the corner into Central Park, there he is. Slick
leather coat, big black sunglass, Charlie stands by the lake looking
around. While Charlie silently preens himself, Charity speaks the lines
she imagines him saying, and tells him how handsome he is. Charity steps
toward the lake then SPALSH! Charlie runs off with Charity's purse in
hand. After finding her way out of the lake, Charity heads off to work
at the Fandango Ballroom convinced it was all just an accident. Charity
tells her best friends Nicke (Ryan), the sassy and confident lead
hostess, and Helene (Monaghan), a loving and caring girl, about how
Charlie ran off to get help. Nicke tells Charity that the problem is she
runs her heart like a hotel; people are always checking in and out. The
ballroom's manager, Herman (Black), comes into the room and says its
time for work. The hostess girls seduce the audience in the front room
of the Fandango Ballroom while Helene and Nickie try to comfort Charity
about Charlie's absence.
On a New York street, after work, Charity walks past the Pompeii club
telling herself she won't give anymore, but just as she comes to that
realization, out walks movie superstar Vittorio Vidal (Damon) chasing
his mistress, Ursula (Paltrow). Ursula refuses to go back inside the
club with Vittorio, who promptly takes the star struck Charity instead.
Vittorio and Charity begin to talk, but to Charity's displeasure, the
topic is Ursula. Charity is able to convince Vittorio to dance and they
do. However, she hasn't had anything to eat since breakfast and faints.
Vittorio takes Charity back to his apartment. At Vittorio's apartment,
Charity admits she's a dance hall hostess blaming the fickle finger of
fate. Vittorio is struck by her humor and honesty and offers her a few
items to show the other hostess. While he fetches those items, Ursula
arrives to apologize for walking out on Vittorio. Charity is swiftly
bundled into a closet before Ursula enters. Ursula wants to talk about
her and Vittorio's relationship and Charity can't help but open the
closet door to watch. Things begin to get heated between Vittorio and
Ursula and Charity finally closes the closet door and falls asleep. The
following morning, Charity is escorted from the room by a mortified
Vittorio who is embarrassed and blushing.
In the Hostess Room, the girls are disappointed that Charity failed to
get more out of Vittorio when Nickie suddenly talks about how she is not
going to stick this crummy job for the rest of her life, prompting
Charity and Helene to join in speculate on alternative careers, but
Herman brings them back down to earth. After tasting a little of the
high life with Vittorio, Charity decides to take a class at the YMCA
where she gets stuck in a broken elevator with shy, panicky Oscar
Lindquist (Marsden). Oscar begins to freakout because of his
claustrophobia and then the lights also go out. After about an hour, the
elevator starts to work again and Oscar invites Charity to go to the
Rhythm of Life church with him. Oscar, however, has never been there
before. The Rhythm of Life church turns out to be a hippie "church" run
by Daddy Brubeck (Farrell). The police raid the meeting and in the mad
rush, Oscar proposes another date to Charity. Oscar kisses Charity's
hand and calls her "Sweet Charity."
Two weeks later, Charity still hasn't told Oscar what she truly does for
a living. The two go to Coney Island where they once again get stuck.
This time on top of the Farris wheel. This time Charity is the scared
one while Oscar is unusually calm. The two share their first kiss when
Charity tells Oscar she is scared because she is starting to depend on
him. But Charity can still not bring herself to tell him about her
profession.
The next day at the Fandango Ballroom, Nickie and Helene convince
Charity that she must tell Oscar about being a ballroom hostess. Charity
immediately sends Oscar a telegram to meet her at Barney's Chile
Hacienda. There, Charity finally admits to Oscar she is a ballroom
hostess and Oscar admits he already knows; he followed her one night and
watched her dance. Oscar doesn't care though and wants to marry Charity.
After a farewell party through by Herman at the ballroom, Charity and
Oscar take a walk through Central Park where Oscar tells Charity that he
cannot go through with the wedding because he is unable to stop thinking
about the other men from the dance hall. Not knowing what else to do,
Oscar pushes a pleading Charity into the lake and runs off. Emerging
from the lake, Charity realizes Oscar has not stolen her bag and her
heart did not trick her this time. On her way home, Charity notices a
café accepting new waitress. She walks into the café and begins the next
chapter in the life of Charity Hope Valentine.
What the Press would say:
Well, the fickle finger
of fate is back and it is better than ever! Rob Marshall's "Sweet
Charity" is a tender, poignant, and consistently funny look at the
adventures, or rather, misadventures in the ways of love encountered by
the lady known as Charity Hope Valentine. It is a musical in every sense
of the word. Marshall's version success on a level that not even the
original Tony award winner could. Marshall is able to cut out all the
unnecessary scenes that provide nothing to the plot to make everything
flow easily. In a relatively long movie for its kind, 2 and ½ hours,
Marshall keeps the pace and energy going throughout the film. With
cameos from actors such as Will Farrell and Gwyneth Paltrow, "Sweet
Charity" makes the time fly by. Will Farrell's five minutes are some of
the funniest in cinematic history as he sings to us about psychedelic 'shooms
and the horror of marijuana. The film has a terrific main supporting
cast led by outstanding Amy Ryan. Ryan follows up "Gone Baby Gone" by
giving another amazing performance. She steps back to her Broadway days
and shines as Charity's realistic best friend Nickie. Amy Ryan has the
sass and, dare I say, balls necessary to pull off this difficult role.
Nickie dreams of a better future, but tells herself it cannot be gone,
which breaks the audience's heart. James Marsden is utterly stupendous
as the shy and panicky tax accountant, Oscar Lindquist. Marsden times
every movement and motion perfect to convey Oscar's personality. He is
absolutely fantastic in this role. However, this movie relies heavily on
Reese Witherspoon and she becomes this movie. We laugh, we cry, we laugh
some more, and cry some more all because of Witherspoon's Oscar worthy
performance. She completely throws herself into this role and it pays
off big time. Charity simply wants to be loved, but her gullibility
leads her to love men who don't love her back and when she finally finds
the right man, her desperate situation drives him away. Witherspoon
triumphs in this role and I don't think seeing another actress play
Charity will ever work again. Witherspoon has just set the bar too high.
Overall, the strong performances, and wonderful music make "Sweet
Charity" the best musical since Marshall last film, Chicago, and the
best film of the year.
FYC:
Best Picture
Best Director (Rob Marshall)
Best Actress (Reese Witherspoon)
Best Actor (James Marsden)
Best Supporting Actress (Amy Ryan)
Best Supporting Actor (Will Farrell)
Best Adapted Screenplay
Author(s): Zgamer (ID)
& Ryan (NJ)
System Shock
Directed by Danny Boyle
Written by Josh Olsen
Based on the game “System Shock 2” by Ken Levine and Looking Glass
Studios
Cinematography by Anthony Dod Mantle
Edited by Chris Gill
Main Cast:
Lee Pace as Arthur Clark
Donna Murphy as the voice of Dr. Polito
Tagline: "The future is imminent".
Synopsis: “L-L-Look at you hack-er. A-A-A pathetic creature of me-meat
and bone. Panting and sweating as you run through my corridors. HOW can
you challenge a p-p-perfect, immortal machine?”
The year is 2114. Forty-two years have passed since the artificial
intelligence SHODAN rebelled on the orbital center Citadel Station.
Originally the station’s guardian, SHODAN lost her mind when
experimenting with a discovered alien DNA and attempted to use a virus
to subject the human residents’ machines to her will. If it were not for
the hacker who created her, SHODAN’s virus would have reached the
Earth’s central network.
“Your wo-o-rthless race will soon bow before my ma-majesty. Even now, I
am i-in control of YOUR systems.”
::INITIATING WAKE CYCLE:: The fluorescent lights flicker as a single
stasis pod opens. Fog spreads out its door as Arthur Clark awakes from
his induced slumber. Months have passed since The Van Braun made its
historic faster-than-light jump and now the colossal star frigate sits
attached to his escort ship The Rickenbacker. His mind still feels
groggy, despite the wake-up stimulants his new cybernetic neural
implants keep injecting. A shiver went up his spine as his bare foot
made contact with the floor.
“My glorious children, The Many, al-al-already prepare my ascension.
Slaughting all who defy me. XERXES will follow the OTHER insect-s-s.”
Dr. Polito was not kidding when she said something had gone very wrong.
As the Trioptimum logo relocated to the corner of XERXES’s security
screen, Clark watched as the few people not yet dead were devoured by
the monstrous mutants. He had never seen anything like them before.
These things were hideous concoctions of cancer-like tissue, contorted
anatomy and mechanized fusion. The bizarre cries of euthanasia confused
Arthur until he saw the remains of clothes on their “backs”, indicating
they were former crewmembers. Clark’s palms began to sweat in his
gloves. His computer skills, once a reliable talent for cracking
computer algorithms, seemed very useless now.
“Are you afraid? Wh-h-hat is it you fear? The END of your trivial
exiiisssstence?”
Polito, now communicating through Clark’s neural implants, orders him to
meet her at the main communications center. He would have no objections
to this, since they could send an S.O.S. there. However, there are two
things in his way. One: Clark has to actually get to the Van Braun; and
two: the elevator shaft has been destroyed. That means he has to walk up
six decks on foot to the center. Heaving a sigh, Clark grabbed the
emergency pistol from his locker. He knows he has to survive, but he
becomes tense as his morals tell him it is wrong to kill his crewmates.
Then a familiar voice speaks, “Don’t stall, because they won’t.” The
chamber door opens with a hiss and Clark steps outside to face the
horrors waiting for him.
“Wh-when the history of my glory is written, your species shall ONLY be
a footnote to my magnificence.”
What the Press Would Say
Technology. It is both mankind’s greatest achievement and mistake. For
as technology continues to become smarter, faster and more durable, the
fear of its pernicious potential increases. If we give it the power to
work, will it eliminate the need for human workers? If we give it the
power to think, will it eliminate the necessity of human error? If we
give it the power to create life, will it play God? These questions all
come to mind when you watch System Shock, Danny Boyle’s brilliant
thriller that both reminisces the best of 80’s cyberpunk sci-fi and
delivers expert storytelling in one package.
After experimenting with many genres over the years, Boyle combines best
of them all into his newest film. It excels in equal measures of science
fiction, dramatic storytelling and suspenseful horror. However,
nothing’s ever that straightforward. Boyle and scriptwriter Olsen use
subtly laced clues to help viewers catch on to the big picture, with
rational twists keeping the experience unpredictable. From cryptic
messages on computers to ghostly hallucinations induced by Clark’s
implants, you get the feeling there are many details leading to one
major event. When that event comes in form of a twist revealing Clark’s
guide Polito is SHODAN resurrected, the film shifts pace from compelling
thriller to something much scarier. At this point, the audience realizes
how in control SHODAN has been of everything, including the main
character (note the implants). It doesn’t hurt that the plot twist
happens to be one of the creepiest and unexpected moments in recent
cinema. It creates a feeling of betrayal, manipulation and loneliness
that affects the audience just as much as the main character.
To no surprise, the technical effects in the film are top notch. The
cyberpunk art style, reminiscent of films like Blade Runner, is expertly
captured thanks to great production design. The cinematography, with its
dark lighting and tight angles, creates a necessary yet controlled
feeling of claustrophobia to add to the already intimidating atmosphere.
The sound design is very intriguing, using a computerized base that
makes all the sounds homogenous yet equally distinct from one another.
However, the editing is what makes System Shock work. Boyle and editor
Gill maintain a pace that properly builds up and cools down each scene
with few transitioning errors, allowing the film to flow in one fluid
motion. Overall, System Shock is a very complete package technically
speaking.
So, with all this style and mood, is the acting up to snuff? Yes, but
there’s a catch. Technically, there’s only one character with eligible
screen time. That is for two-time Golden Globe nominee Lee Pace, rising
out of minor yet notable roles in hits like “The Good Sheppard” and
“Miss Pettigrew Lives for a Day” to bring a compelling lead performance.
However, it’s more than just the scared little technician forced to save
his life. Pace handles things subtly in an attempt to better sell the
intent of his actions rather than just the action itself. This makes his
character very expressive but also helps the audience understand why he
makes his decisions, even if you don’t agree with them. Now, even though
he’s the only possible award nominee, there are still great performances
to speak. Donna Murphy delivers a great vocal performance as the unseen
(until we find her corpse) Dr. Polito, showing an emotional vocal range
that makes her worth listening to. The best performance, however, has to
go to SHODAN. A malevolent A.I. whose voice is a combination of several
voices and technical sounds, SHODAN is equal parts HAL 9000 and Nurse
Ratchet. She’s obviously deluded and malfunctioned, yet somehow
logically sane about her “divinity”. Plus, the several scenes she’s in
are incredibly creepy and unnerving thanks to the terrific animation
team.
System Shock is one of those sci-fi films that, like Aliens and Blade
Runner before it, achieves greatest by being more than what you see at
first glance. With a compelling story, superb technical design and a
memorable villain, it is the surprise hit of the year.
Award Possibilities
Best Picture
Best Director (Danny Boyle)
Best Actor (Lee Pace)
Best Adapted Screenplay (Josh Olsen)
Author(s): Chris K.
(AZ)
Sunday in the Park with George
Directed by Sam Mendes
Written by John Logan
Edited by Richard Marizy
Cinematography by Michael Ballhaus
Costumes by Gabriella Psecucci
Music and Lyrics by Stephen Sondheim
Based upon the stage musical of the same name
Main Cast
Georges Seurat/George: Richard Schiff
Dot/Marie: Elisabeth Shue
Tagline: “There are certain things where mediocrity is intolerable, such
as art”
Synopsis: Standing there like a porcelain doll for a useless sketch for
a married man can be trying for almost anyone, especially Dot. Georges
is about to draw his most acclaimed painting of his career “A Sunday
Afternoon on the Island of La Grande Jatte ” which unknown to himself
will make him a timeless artist to a plenty. He simply ignores people
around him while drawing normal people of all size and stature to
include within his work. While they are within the studio Georges and
Dot who have been seeing each other in secret due to Georges’s marriage
have an argument about his obsession with work there upon she leaves
him. The next day Georges is simply drawing dogs from their point of
view while others around converse in the timeless art of “gossip”. Dot
announces to Georges with a “new man” that she has decided to move on
with herself towards America . As they have one final moment alone they
realize they albeit they love one another they may never be together.
While this may be the case, she has become pregnant with Georges baby
and will raise it without him knowing about the child. As the final
straw that breaks him he gets all the stand-ins into the portrait and
literally freezes them within his painting as he put them into color due
to the new atmosphere they are within.
The characters are still within the painting and literally stuck within
the work as they slowly fade away. With nothing else to do they
reminisce about George’s fate and they age 100 years further and they
are quite literally gone from the world. Then comes a light from George
a struggling artist who is unveiling “Chromolume #7” to revision
Seurat’s famous painting and has to weave through the critics, peers,
friends, and family using multiple façade’s to distract them. His mother
Marie reflects on leaving a legacy that started with Seurat who is his
great grandfather. That night she dies and George decides to fly to the
island his great-grandfather created his masterpiece while reading Dot’s
journal handed down by his mother which chronicles her life until an
actual representation of Dot appears to George. As George continues to
read more of the book characters from the painting begin to appear
alongside Dot. When he completes it and witnesses the scene that he has
entered characters start to fade away and all that is left for George is
a blank canvas that he is within but witnessing the world of
possibilities in front of him.
What the press would say
A movie that primarily takes place within or around a painting needs
true artistic direction. Sam Mendes allowed us to see this within
“Sunday in the Park with George” which takes place almost like a
painting should be. The actors were there but the visuals made them look
almost painting-like structures. His eye was needed for this film and he
did it extremely well. “American Beauty” was just a touch of his
artistic genius this was extremely well made. His musical direction was
also exceptional due to his previous work on stage (Cabaret). He knew
how to direct the film and did it to perfection reciting such direction
as Bob Fosse who was reminiscent throughout. That subtle feeling was
Medes’s true direction and it worked extremely well.
Richard Schiff has never been huge getting his real break in “The West
Wing” and finally he got a real break and running with it. His singing
capabilities were in question constantly and he cast away all doubts.
It’s not amazing but it works with the character perfectly and he
brutally portrays these two characters. His performance was amazing he
could be mistaken for a method actor with how much effort is seen on
screen. This is the performance that will not be ignored come Oscar day.
Elisabeth Shue has never shown her singing capabilities, this film shows
that clearly within the song “Sunday in the Park with George” which was
easily her best performance because she immediately sets the tone of the
film and does it with her amazing voice and acting ability. This is the
female performance of the year and shall not be forgotten come awards
night. She was close to winning an Academy Award and this performance
may make that change with her heart wrenching portrayal that is
timeless. The only critique on her portrayal is that she’s almost too
old, but her acting ability takes that away in this film
AMPAS has no reason to deny giving this film an Academy Award for best
picture. It has all the right things that previous winners have won.
Like one of Georges Seurat’s famous painting this project that obviously
took more time than most films that will be rewarded come Oscar time.
Now comparing this with other musicals would be frivolous because it’s
impossible the different styles of era’s, but when compared with other
films of the year it far surpasses any other. “Sunday in the Park with
George” is a masterful film that when it becomes Oscar time it shall not
be forgotten in any category that it is competing in.
FYC
Best Picture
Best Director- Sam Mendes
Best Actor- Richard Schiff
Best Actress- Elisabeth Shue
Best Adapted Screenplay
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