Ethan Hawke at 50: An Appreciation

by Lynn Lee

If I had to pick one actor who most perfectly embodies the spirit of Generation X, the choice would be a no-brainer.  With all due respect to other 40 and 50something stars (Leo, Brad, Johnny, Keanu) or dead icons (River, Heath) in his peer group, it could never be anyone other than Ethan Hawke.  Not because—or not only because—of Reality Bites, which made him the poster child for cynical, disaffected (but secretly vulnerable) Gen X slackers everywhere.  Rather because his career exemplifies the quiet independence and under-the-radar achievements of that not-quite-lost, but certainly liminal, generation.  He’s been working steadily since his debut, at the age of 14, in Explorers (1985), yet like any good Gen Xer, has successfully eluded easy characterization.  He reaches the half century mark today having assembled one of the most intriguing and eclectic bodies of work of any currently living actor... 

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Streaming Roulette: Monstrous Kaitlyn, Shifty William H, and Ubiquitous Sharon

After the jump you'll find a listing of everything that's new to streaming this month (October 2020). But first we pick two handfuls of titles and we just randomly freeze them with the scroll bar. Whatever comes up is what we share. Do these images make you want to see (or rewatch) the movie? 

[Church choir singing]

Dick Johnson is Dead (2020) on Netflix
Filmmaker Kirsten Johnson dramatizes her father's death in multiple ways to help them both prepare for it. Glenn reviewed this buzzy new documentary for us in his weekly column.

Nononononononono. That's not how we're going to talk to one another. I will not be that guy. You cannot put me in that category: the biological father I spend every other week with and I make polite conversation while he drives me places and buys me shit."

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The Furniture: Framing Perpetual Childhood in The Truth

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Towards the end of Hirokazu Kore-eda’s The Truth, legendary actress Fabienne Dangeville (Catherine Deneuve) admits something quite harsh. “I prefer to have been a bad mother, a bad friend and a good actress,” she announces at dinner. Her talent and her single-mindedness have given her a lengthy career, multiple Césars, and the freedom to take liberties with her own story. Her soon-to-be-published memoir is the occasion for which her daughter, Lumir (Juliette Binoche), has come for a visit, bringing her American husband (Ethan Hawke) and their daughter, Charlotte (Clémentine Grenier). And this short trip quickly becomes a long one, once Lumir agrees to step in as her mother’s assistant on the set of a science-fiction film.

Lumir’s presence becomes an opportunity to relive and relitigate family history. It’s not just that Fabienne’s memoir strays from the truth, but that their entire relationship is based on contested memories. Kore-eda suggests that it might be Fabienne’s work that has so deeply wounded her personal relationships. Has the vocation of make-believe crept into the rest of her life, encouraging her to freely reshape her own memories and ignore the truths of those closest to her? Has acting made Fabienne a forever-child?

And how on earth do you express that with production design?

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The Furniture: Of Tesla and TED Talks

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Does genius have an aesthetic? And what would it look like? Tesla poses this question in a big way, tossing out the visual parameters of a typical period piece in the process. Director Michael Almereyda has said that he was inspired by “Derek Jarman, Henry James and certain episodes of Drunk History,” which absolutely comes through - and is a good thing. But, to be honest, Tesla also reminded me of a major component of the 21st century tech aesthetic: the TED Talk.

It’s in the script, too. The first thing we hear is a tale of the title inventor’s childhood, told by our narrator Anne Morgan (Eve Hewson). The young Tesla once noticed static electricity on a cat, a little memory that will be woven into an origin story for genius. This is immediately followed by a scene in which Thomas Edison (Kyle MacLachlan) waxes poetic about his own memories, which include an early boat ride on Lake Ontario and witnessing a friend drown shortly thereafter.

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The New Classics: First Reformed

Michael Cusumano here with the most recent film I've yet to induct into this series. Despite its newness, it's one of the titles I'm most confident will earn the label of classic in the course of time.

Can you pinpoint the moment someone crosses the line between faith and fanaticism? Is it even possible to fully define the boundaries between the two? Most reasonable people would agree it’s around the moment someone commits an act of violence in the name of God, but an individual crosses that boundary internally long before he straps on a suicide vest. 

That elusive moment of radicalization exists somewhere in the vast gray silences of Paul Schrader’s First Reformed. It passes by so quietly that it is possible to be late into the film and have no inkling of the wild-eyed zealot Ethan Hawke’s Reverend Toller will become in the film’s shocking final movement...

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