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Thursday
Dec012011

Distant Relatives: The Graduate and Fish Tank

Robert here w/ Distant Relatives, exploring the connections between one classic and one contemporary film.

Sedentary and Sex

So what do a rough and realistic look at poverty in London and a comedy set in the suburbs of California have in common? Well at first glance both are about the events that lead up to and follow an inappropriate relationship. For many reasons, the cinematic arts naturally drift toward stories of forbidden sex. They allow filmmakers to explore the human condition in areas that lend themselves to lack of control. They're filled with all kinds of drama and conflict. And of course sex gets people to sit and watch. But there's more to it. After all, with all of these films about forbidden sex out there, why these two that seem so different? In both The Graduate and Fish Tank, the inappropriate relationships aren't really the problem. Well, they are eventually, but initially they're just a symptom of something greater. Both films have protagonists filled with agitation, ennui, longing, and the desire to do something, anything greater than what they're doing now. And both films postulate that this puts them on the easiest possible path to seduction.

In 1967 The Graduate became a hit because as all we all know, it spoke to an entire generation. But it didn't speak to a generation because every young person in the 1960's was familiar with boinking their parent's friends. Ben Braddock, the titular character came back from school to a safe suburban existence where everyone had unique opinions on what he should be doing with his life. Yet all of these opinions came from people with lives to which he did not aspire. Benjamin's potential seemed endless yet all paths pointed to an undesirable future. Fish Tank's Mia (Katie Jarvis), although an ocean and a continent away and on the opposite spectrum of the class divide finds herself in a similar situation, however she doesn't have the benefit of unlimited prospects. At fifteen, Mia doesn't have much of a future at all. She doesn't like her mother and doesn't want to become her mother, but there doesn't seem to be too many other options. She's not one for academic pursuits and mostly dreams of being a dancer in a non-specific way.

 

No Someday. No Rainbow.

With Benjamin and Mia adrift, the idea of a promising future slipping further and further away, they turn their attention to the possibilities of the present. Enter someone older, desirable, representative of impulsiveness and rebellion. Both Benjamin and Mia have a need that requires filling. Love and affection? Maybe. But more so a desire to be distracted from their hopeless future, perhaps even a need to be destructive, to have some ownership over a future already in shambles by being careless and responsible for its destruction themselves.

Then there are the seducers. The Graduate's Mrs. Robinson (Anne Bancroft) is the epitome of aggressiveness. Fish Tank's Connor (Michael Fassbender) is more subtle. Then again he has to be. A movie about a fifteen year old girl being seduced by an older man has to be handled differently than a film about a male college graduate being seduced by an older woman. An aggressive Connor would have immediately upped the suspense and diminished the realism. But in both films, it doesn't take much for the deed to be done. Yet once Benjamin and Mia realize that their older suitors are still representatives of their ugly futures, they realize that they can't be a part of them. Ambiguous endings abound, though there is the sense that our protagonists have learned something. Been used to be sure, but reset onto a better path? Or do they, in the words of The Graduate director Mike Nichols "become their parents?"

If you still think the comparisons are a bit trying, consider the title of our modern film: Fish Tank. It suggest being both submerged and imprisoned at the same time. It's a clear effective metaphor, and one that The Graduate would know something about too.


 

Other Cinematic Relatives: Lolita (1962), Beau Pere (1981), Fat Girl (2001), Notes on a Scandal (2006)

Thursday
Dec012011

NBR Awards. Old Favorites Clint, Clooney & Marty Triumphant Again

Though the NBR finally gave up their "first!" crown -- and without so much as a fight! -- they were true to form in other ways. George Clooney & Clint Eastwood can't even sneeze without 92% of the NBR crowd shouting gezundheit so naturally their films won top ten placements and Clooney's film (The Descendants) won three other prizes, too.

But Martin Scorsese, another previous NBR winner, was the man of the hour. Or the future hour when the banquet takes place since he showed up on the Documentary top five list with George Harrison: Living in the Material World (review) and his film Hugo won both Best Picture and Best Director. A double win for those categories is not common at the NBR. It's true that it happened last year with The Social Network but before that it hadn't happened since 1997 when Curtis Hanson did the trick with LA Confidential.

PICTURE Hugo


(top 10 ...the rest are in alpha order)
• The Artist
• The Descendants
• Drive
• The Girl With the Dragon Tattoo
• Harry Potter and the Deathly Hallows Pt 2
• The Ides of March
• J. Edgar
(Clint Eastwood hasn't missed their top ten list since Blood Work, 2002)
• The Tree of Life
• War Horse 

FOREIGN FILM A Separation

(top 5 additional foreign films in alpha order)
•13 Assassins
• Elite Squad: The Enemy Within
• Footnote 
• Le Havre
• Point Blank 

DIRECTOR Martin Scorsese, Hugo
ACTRESS Tilda Swinton, We Need To Talk About Kevin
ACTOR George Clooney, The Descendants
SUPPORTING ACTRESS Shailene Woodley, The Descendants
SUPPORTING ACTOR Christopher Plummer, Beginners
BREAKTHROUGH PERFORMANCE Felicity Jones, Like Crazy and Rooney Mara, The Girl With the Dragon Tatoo
DEBUT DIRECTOR JC Chandor, Margin Call
ENSEMBLE The Help

How Elizabeth Olsen in Martha Marcy May Marlene keeps losing these "breakthrough" and "debut" categories is beyond me. And NBR also shunned it even in the top ten indies list. 

many more prizes, top ten indies, and awards history after the jump.

Click to read more ...

Thursday
Dec012011

David Cronenberg on A Dangerous Method & the "Parallel Universe" of Oscar

Cronenberg hard at work on "A Dangerous Method"I met the great filmmaker David Cronenberg one morning this fall shortly before a screening of his latest work at the New York Film Festival. His new film A Dangerous Method, which just opened and will be expanding throughout the month in theaters, is a historical drama about the birth of psychoanalysis. In the film Sigmund Freud (Viggo Mortensen) and his protege Carl Jung (Michael Fassbender) are torn apart over idealogical differences and Jung's treatment of a young woman named Sabina (Keira Knightley).

Cronenberg in person was talkative, articulate and fascinating. He was even good natured about the sordid topic of Oscar (incredibly the reknowned auteur has never been nominated for an Oscar, a Golden Globe or even a DGA prize!).

His ease with conversation might surprise people who only know him through his often unsettling films. The night before our interview I'd been at a party and when I casually mentioned I'd be interviewing Cronenberg the next day I heard the strangest funniest responses: "Don't get in a car with him!" "Don't let him touch your portals!" and so on. Other amusing warnings followed as if he were a frightening character from his movies.

I relayed this to Cronenberg as icebreaker when we sat down...

Nathaniel: Do you find that people regularly have odd conceptions about you based on your films? 

DAVID CRONENBERG: Well, you know, I haven't done horror films for a long time so it's strange that it's sticky. I've talked about this before but Marty Scorsese told me he was terrified to meet me -- we did meet and became very good friends many years ago -- but he said he was terrified and then shocked to see that I looked like a Beverly Hills gynecologist. And I said 'You were afraid to meet me? You're the guy who made Taxi Driver?!'

a small sampling of his often deeply troubling films

It was a long time ago. But he had seen Shivers and Rabid and maybe The Brood and he found them incredibly overwhelming and terrifying. He of all people should know and I suppose if Marty could make the same mistake...

The relationship of an artist to his art is a complex one. It's not one to one. It's not like you make romantic comedies therefore you are romantic and fun. On the contrary we know that most comedians are really nastily, hostile, spiteful vindictive people.

Nathaniel: Does your work ever scare you then, when you see it back?

CRONENBERG: I don't normally watch it. I can't watch my movies as though they're movies. They're documentaries of what I was doing that day. I'm the last person to be able to tell you objectively what my movies do or don't do.

Nathaniel: As an auteur you obviously have had recurring thematic elements Do you think about your past work when you're working on something new?

CRONENBERG: No. I completely don't. That's why if someone should say, it has happened, that A Dangerous Method doesn't feel like a Cronenberg film. I don't know what they're talking about. I mean, I know what the cliches are. But to me, they don't realize that the first movie I made was about a psychiatrist and his patient. It was a short, my first film. So for me this is business as usual. To me that just reveals their ignorance. I'm not saying that in a vindictive way but it just means they don't really know my work or understand it. That's the way I feel.

Nathaniel: It's actually very much like your work in terms of the concerns. You've done a lot of films that had psycho-analytic elements. Did you ever worry that this was maybe too on the nose, given that? Like you're going back to the womb or the source of it all.


CRONENBERG: No, No. It's exciting to do that!

[MORE AFTER THE JUMP: including his collaboration with Viggo, awards season lottery tickets, and the modern trend of directors tinkering with their old movies.] 

Click to read more ...

Thursday
Dec012011

Congratulations to the Movie-ish Grammy Nominees !

Given that roughly 193,026 musicians can call themselves Grammy nominees for the first time or again in the wake of last night's announcement (so many categories), we'd like to congratulate those nominees that are somehow connected to the movies. But before we do that, tell me who has your vote for "album of the year"?

 

I have the Gaga and Adele CDs and love both. Do you recommend the others?

Anyway... Silver screen type nominees & best music videos after the jump
Including: Val Kilmer, Patton Oswalt, Daniel Radcliffe and more...

Click to read more ...

Thursday
Dec012011

Complete the Chastainy Sentences...

If I could ask Jessica Chastain one question it'd be this:  ________________________________________.

She's the new _________________ because  ______________ .

When I heard she won the first Supporting Actress award of precursor season I thought _______________________ .

I really hope she works with _________________ and plays __________________ .