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Entries in Scarlett Johansson (2)

Wednesday
Jul302014

Why I'm Not Seeing "Lucy"

"Lucy" will be discussed soon on the podcast but at least one member of Scarjo-loving TFE refuses to see it. Here's Matthew Eng to tell you why. - Editor


I don't care if Lucy is every bit the gloriously silly and shamelessly outré action fireworks show that gung-ho summer audiences have made into a "surprise hit." I care even less that Luc Besson has managed to curb his own gonzo cheese-fest tendencies to a running time of less than 90 minutes, compared to the ceaselessly spinning tops and chiseled self-mythologizing of every Christopher Nolan movie post-Insomnia. And, though it's been tempting, I finally don't care that Besson and Co. have seemingly put the newly-rejuvenated Scarlett Johansson (so good in Under the Skin; so great in Don Jon) on a pedestal of full-out Film Goddess proportions, in a genre where movies in which women are front and center and not merely killjoy bystanders or fatal love objects is an all too well-known rarity.

That last fact has been my greatest lure towards shilling out for Lucy (aka Scarlett), but I refuse to believe that we should have to tolerate, much less applaud, any old action movie, no matter how dire the prospects, because some Hollywood bigwig has had the amazing insight to put a more-than-deserving actress at the forefront. I, too, was giddy about Angelina Jolie snatching Salt right out of Tom Cruise's hands, until I actually sat down and watched the thing, only to realize what a sorry, secondhand vehicle Jolie was actually driving. If you really want to watch a fully-realized femme figure take names and kick ass with the full support (and smarts) of the filmmakers behind her, then by all means rent/stream/buy the Alien series or the Kill Bills or the Terminators, or, for something less familiar, take a gander at Kathryn Bigelow's exquisite Strange Days, in which a bravura Angela Bassett is every bit the strong and stalwart action heroine she needs to be, while also, you know, playing a recognizable human being.

But what finally set aside any and all chances of me seeing Lucy was this image, ℅ of Rena Meownegishi, who found it and translated. [more ...]

 

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Tuesday
Jul222014

Under the Skin and Into the Fog

Formless void and darkness. And then light, blinding light. Jonathan Glazer and his gifted cinematographer Daniel Landin present them in that Biblical order. They toy with them for the remainder of Under the Skin, separating them like they're playing god.

Honorable Mention

Perhaps they are since this haunting film begins, as far as I can tell, with Creation, or a creation of sorts. Is it our protagonist being formed (?) or, rather, assuming a new form complete with vocal exercizes to play the role. (The mystery woman is never named in Under the Skin, and none of the men she entices and lures into her formless void, ever think to ask her for it so we'll refer to her as "She" or "Her" since it's Scarlett Johansson we're talking about). What She needs language for is something of a mystery. She seems to communicate best telepathically in the eery repeated shots of her and her driver/accomplice staring at each other or staring into windows / mirrors. That's as good an explanation as any for how she understands the thick Scottish brogues around her when English is not her mother tongue.

Though the details of what exactly is occuring in any given sequence of this great picture are often indecipherable, the artistry of the film is not. It's alternating visual schemes of darkness and light, its elemental preoccupations (water, air, fire... and, well Earth, all play key roles) and its weird asides (the blinking mask, that golden shimmer interlude, the cake!) and Scarlett's fascinatingly alien comportment all prove more rewarding on second viewing. 

Runner Up

The most powerful recurring image and in some ways the most inexplicably frightening is watching the men slowly sink into blackness, like sailors willfully drowning for a siren's call. You may have your own ideas about what exactly She is harvesting their skin for but I assumed it was the creation of more faux humans like herself. And if so, how perverse that Creation is always doubling as Destruction. 

And speaking of perversity, Here's my choice for Best Shot, below. In a film full of startling imagery, it's something as mundane as a car on the road, and a woman in the fog, from the point of view of a car's dashboard. It's a visual choice as it continues the film's often ingenious play on stark blacks and bright whites while reversing the now familiar feeling of men swallowed up in blackness. It's a narrative choice, marking as it does the transition to the film's last act and reverses our usual view of looking out the car's window with her and for a moment, the same view looking at her. It's an emotional choice as I forgot to breath watching it. She has rejected her calling, an apostate suddenly wandering in a strange land without purpose.

Best Shot. Into the Fog

Glazer leaves us waiting for Her return a full 14 seconds before we join her in the fog. Her emotions are still totally alien to us as she rotates in place, staring into the liquid air. Looking for what? Everything that should be mundane, including this view from inside a car we've spent half the film in, is riddled with complexity and eery wonder. Glazer has the power to render the familiar alien and by the film's end, and rather movingly, the alien familiar.

I'm not otherwise a religious person but the cinema is my church and Jonathan Glazer is one of the new gods. I've watched Under the Skin twice now, both times with equal parts reverent awe and abject fear. I'm a true believer. 

See the whole roster of chosen shots from 22 other HMWYBS participants