Thoughts I Had... About 5 Recent Movie Dads

HAPPY FATHER'S DAY to all the readers celebrating their dad today whether or not he's a movie-lover. Especially big props go out to the proud papa readers out there raising their own movie-mad tots. (Please tell me you're starting them young! If so, I approve.) 

Today is my first father's day without my own dad so to distract me from this distressing realization which ruined an otherwise wonderful morning chez moi, I wrote this impromptu brain vomit list. Feel free to share your own in the comments...

The royal clan in BRAVE (2012)

Thoughts I Had on the Six Most Recent Movie Dads Screened

"King Fergus" (Billy Connolly) in BRAVE
I don't want to give too much away about Pixar's first "princess" movie, but let it suffice to say that I was very surprised that the Queen and not just the princess is so major in the narrative. It really is their first GIRL movie (...though not quite bent or rocking enough to be their first GURL or GRRRL movie). The movie's soul and heroism are female-centered but Brave also features a large collection of proud papas starting with the formidable King Fergus his leg legendary eaten by a fierce black bear. He may be a warrior but he is a big softie when it comes to the women in his life. The other proud dads on display -- each suggesting that their first born son deserves Princess Merida's hand -- are mostly comic relief and the animators clearly had great fun detailing  the similarities, differences and delusions in the father/son dynamics.

Ancient ancient Guy Pearce in "Prometheus""Peter Weyland" (Guy Pearce) in PROMETHEUS
SPOILER ALERT. The Evil* Weyland Corporation's ancient dead figurehead is seen only in holograms and flashbacks until he isn't. Ta da! He's still alive. Cyrogenically frozen just like Walt Disney and other Empire Builders and Iconic World Changers are always rumored to be at one point or another. You didn't see saw that coming, I take it. What I didn't see coming was that "David" (Michael Fassbender) and "Meredith Vickers" (Charlize Theron) were essentially siblings. This is completely and wonderfully "duh!" obvious in retrospect given their mutual Aryan iceiness, stiff gaits and weirdly intimate vibe of 'we avoid each other.' Perhaps I was too blinded by involuntary fantasies of a robotic blonde horizontal mambo to realize the fantasy was incestuous.

Of all the scripted and unscripted mysteries of Prometheus the one that bothers me most is Why the Hell Did You Hire 44 Year Old Guy Pearce to play this character when Max von Sydow, Christopher Lee, Peter O'Toole, Sir Ian McKellen and any number of other tall, thin, great elderly actors wouldn't have required an extensive make up prosthetics team to help them act the role. True they're more expensive than make up artists but so is Guy Pearce! 

*The "Evil" is silent in Evil Weyland Corporation. It's the Corporation and Aliens so everyone understands this.

"Darryl Van Horne" (Jack Nicholson) in THE WITCHES OF EASTWICK
Jack's horny devil is very interested in impregnating the beautiful lonely big-haired movie star goddesses in this supernatural 80s comedy but he doesn't get to share custody. Who should play his sons in the imaginary sequel I long for?

Gay Son and Ignorant Dad in "Loose Cannons""Vincenzo Cantone" (Ennio Fantastichini) in LOOSE CANNONS
I had never seen this gay comedy from Turkish/Italian director Ferzan Ozpeteck and I think it might be the best of his films. It's the story of the gay son of a traditional family who run a pasta empire. The son fears coming out because his dad Vincenzo is a TOTAL drama queen about the gays. He just can't deal. It's rare to see a coming out comedy with this much gentle needling of homophobia that doesn't feel the need to demonize the people who suffer from it holding on to it (like Vincenzo). Loose Cannon just accepts that some people, some dads, have issues. You gotta be your own man anyway.

Loose Cannons is currently playing on iTunes as part of Focus Features Gay Pride Celebration this month

"Wink" (Dwight Henry) in BEASTS OF THE SOUTHERN WILD
I'm still processing this movie but the father / daughter relationship at its center is heartbreakingly intimate without actual physical intimacy. "Hushpuppy," Wink's daughter, longs for more affection but Wink insists that his six year old live in her own house and fend (mostly) for herself. Tenderness is weakness in The Bathtub...

P.S. It's best to know very little about this movie before seeing it so ignore the clips, the trailers, the reviews and just go see it when it comes out. It's a true original and how often do movie theaters play those?! Treasure them.

"Mark" (Kyle MacLachlan) in PEACE, LOVE & MISUNDERSTANDING
Why does Kyle Maclachlan always dick dads / philandering husbands? He used to play so square they're hip guys in stiff suits. When David Lynch abandoned him it all went down hill!

What movie dads have you been watching?
 

Beauty Break: Rose, Uma, Michelle & Tilda

Thanks to reader Emmanuel for sending me this photo...

Rose Huntington-Whiteley, Uma Thurman, Michelle Yeoh and Tilda Swinton this week in Milan. What a photo, eh? This was taken at a launch party for the Vertu’s ‘Constellation’ smart phone. I thank the smart phone for requiring this much collective gorgeousity for its debut.

Though she's clearly the odd girl out here, what with three bonafide screen goddesses on the coach, I don't have the heart to photoshop Rose out (but, yes, I was tempted). She got such a severe beating for Transformers: Dark of the Moon and please... we've seen much worse when it comes to models acting! You know I'm right. People were just ready to pounce because she replaced Megan Fox and because it's Transformers which only requires that the girlfriend be fuckable.

More photos after the jump...

Click to read more ...

'Hit Me', Rocco!

Boxing BrothersOnly 3 episodes of Hit Me With Your Best Shot left and here's one of the three! Please join us with your own "best shot" choices for Aliens (July 13th) and Rebel Without a Cause (July 20th) as we close out the second season in the next two weeks.

Those films will be easier tasks than Luchino Visconti's ROCCO AND HIS BROTHERS (1960), mostly because they're more familiar properties. Visconti offers up so much to ponder in his novelistic film that one viewing might not suffice.

Rocco and His Brothers, which charts the sad aspirational lives of the Pardoni family -- they're country boys who move to the big city (Milan) -- is structured loosely by chapters named after and focusing on each brother from eldest to youngest: Vincenzo (Spiros Focás), Simone (Renato Salvatori), Rocco (Alain Deloin), Ciro (Max Cartier) and Luca (Rocco Vidolazzi). But this family is so codependent that that shifting narrative focus wouldn't be all that obvious without the title cards.

In fact, the brothers are rarely separated physically. They sleep in the same rooms, chase the same dreams (boxing), train and shower together, and even share women (albeit tragically). Visconti often films them in clumps, particularly in the first chapter, as the entire Pardoni family moves to Milan on the night of the engagement party of the eldest son.

They're never separated emotionally, as in this late shot in the film, when Rocco struggles to make a toast and the weight of his entire family hangs over him -- quite literally given the set decoration!

Rocco is a fascinating lead character because he's held up as an ideal in some respects being loyal, hard-working, and unencumbered by greed... but his tragic flaw is his own saintly martyrdom. The patriarch of the Pardoni clan is dead before the film begins (the matriarch is still wearing black) but he left five sons behind. You'd never know it from Rocco's savior complex. Does he fancy himself "the only begotten" what with the way he continually lays down his own blood, body, spirit and dreams for his wayward brother? 

But Rocco is no Christ. His love for his fellow man, or at least this one brother Simone, is so great that it's actually sinful. And it's not his own life he is willing to sacrifice but his woman's, Nadia's (a terrific Annie Girardot who you'll remember as Isabelle Huppert's crazy mother in The Piano Teacher).

Which is why the following two shots moved me the most.

Midway through the film Rocco dumps Nadia for love of his brother Simone (if Rocco and His Brothers weren't already considered a classic film, it'd have to be considered at least a classic soap opera) but his tears are impotent and this generosity of spirit hugely conditional since Nadia isn't exactly getting a good deal. In the end, it's Nadia who has to be crucified and she's not the one with the savior complex. 

"If I wanted a sermon, I'd go to mass."

Nathaniel and His Blog Brothers...  
Thanks to the following who also watched the movie for this Hit Me episode. Go read this great posts.

• My New Plaid Pants Hot Bros Before Hos
• Movies Kick Ass Iconic Roles
• Film Actually The Seductress
• Awww The Movies loved the movie, too

"Rocco and His Brothers"

Hit Me With Your Best Shot is a series in which we capture what we think of as the best shot -- and best is in the eye of the beholder whether that be for reasons thematic, aesthetic, intellectual or personal. Next Wednesday night for the multi-blog celebration of the 25th anniversary of James Cameron's Aliens (1986). This week's topic is... Luchino Visconti's Rocco and His Brothers.

Our Blog Brothers...  Go read them. Yay, blog brothers!

• My New Plaid Pants Hot Bros Before Hos
• Movies Kick Ass Iconic Roles
• Film Actually The Seductress
• Awww The Movies loved the movie, too

My piece will be up tomorrow. Why the delay? True story: I had a very unexpected visit just as I sat down to write today and they just left! Craziness.

The Man With the Italian Tattoo

Williams and MagnaniJose here, to continue celebrating the centennial of American playwright and icon Tennessee Williams.

Williams grew up watching movies. He was one of the major playwrights who learned his craft, not through Shakespeare and Moliere but through the works of De Mille and Chaplin. This can easily be seen in the way his works lack the naturalism of "the theater" and their reality is more grounded on high drama, film noir and even slapstick. You can almost picture the young Williams sitting inside a dark movie theater, enthralled by the images projected on the screen (makes a case for why some of his characters are usually described as "larger than life" huh?).

During one of his many movie adventures, Tennessee spotted Anna Magnani. I like to assume it was Rome, Open City, but of course am probably wrong.

He became so obsessed with the Italian diva that he ended up writing an entire play just for her: The Rose Tattoo. When he approached her to play the leading role of Italian widow, Serafina Delle Rose, Magnani declined because she was unsure her limited English skills would do justice to the play. (Maureen Stapleton did the role on Broadway instead, winning the Tony in 1951.)

This didn't stop Tennessee and Anna from starting a friendship that would endure until their deaths. Williams described Magnani, 

 I never saw a more beautiful woman, with such big eyes and skin like Devonshire soap.  

The temperamental Magnani felt at home with Tennessee and when the time came to take The Rose Tattoo to the movies, she obliged. 

She took on the role of Serafina with such intensity and passion that she ended up taking home the Oscar for Best Actress. She didn't attend the ceremony because she thought she would lose, even after she'd won the critics' awards, the Golden Globe and BAFTA for the role.

The film might not be counted as one of the strongest Williams' adaptations (and the play itself is often regarded as a minor work) and in the years that followed, the movie earned a reputation for being full of stereotypes and even for discriminating against Italian immigrants.

Sure, the film is filled with symbols, bare chested lovers (Burt Lancaster mostly), weeping, screaming, gossiping neighbors, Virgin Marys (and nods to virginity), wine, loud laughing fits and thick accents but few back then realized that the film wasn't being touted as a portal into reality. It was an interpretation of the immigrant experience by someone whose knowledge consisted mostly of neorealist films.

More than this, the movie was a tribute to Anna Magnani. Not the Magnani Williams came to know later, but the Magnani who embodied a nation in the aftermath of WWII. The one Williams had met at the movies.

The Rose Tattoo therefore, is less about the characters than about what inspired their creation. The play is filled with nods to Williams' own life and the motifs that would define his work (sex, passion, humid settings, dead men...) The very tattoo in the title can mean much more than the ideas associated with the flower (love for example) since Rose was the name of Tennessee Williams' favorite sister. I'm sure she accompanied him to see Magnani's films on many occassions... 

Therefore, we understand that the role of Williams in the play is that of the tattoo artist, imprinting precious memories on the skin of his characters and his audience. But above all, imprinting them onto his own creative skin. Some works of art are misunderstood because the are too personal and deciphering their meaning only leads to migraines and shouts of "pretentious".

The Rose Tattoo would be one of these works; so private, so intimate; that we carry them around with us all the time, waiting only for a casual slip of the sleeve, a careless morning after, an accidental movement, to share them with others who might be fascinated, disgusted or even indifferent to their nature.