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November 8, 2015
The Lobster (2015).
D: Yorgos Lanthimos. DP: Thimios Bakatakis. W: Yorgos Lanthismos & Efthymis Filippou. Starring: Colin Farrell/Rachel Weisz/Ben Wishaw/John C. Reilly/Léa Seydoux/Ariane Labed/Olivia Coleman/Jessica Barden.
Whether or not you are in a romantic relationship is maybe just the question of the ages. No matter the time or place the availability of a woman or a man spawned and spawns gossip, books, films and songs. From ‘Jessie’s Girl’ to Pride & Prejudice love and the people we lust for is a theme heavily indulged. The constructed nature of the couple through legality as a means of owning land and/or power is long lost in most modern cultures, but the status of that union is not. The Lobster, from Greek director Yorgos Lanthimos, so searingly ruminates on modern culture’s near fetishisation of ‘the couple’ that it may well be one of the best films of the year.
David (Colin Farrell) now divorced and the caregiver to his former brother who is now a dog checks into a hotel where he is given 45 days to find a romantic partner. If he fails he is to be turned into his animal of choice. David picks a lobster, ironically an animal that notoriously mates for life, but he appears to make this choice because they live for over one hundred years and well, he likes the sea. The film follows his days as he meets fellow hotel guests, hunts loners in the forest, and eventually mis-partners with a woman. Heading out into the loner world David discovers someone new.
The Lobster speaks to our culture’s growing obsession with coupling. Although social media does not play a role in the film, coupling as filtered through these apps and websites is clearly an element of influence. The film also shows the other side of this coin, the aggressive loner whose path is just as ridged and includes digging their own grave. These communities with David moving between the two allows the film to create a journey without ever revealing David’s intentions. The emotional registers of the performances are all so carefully checked that words lose inflection and simple actions protrude as gleaming truths.
A decently chubby Farrell gives tremendous dead-pan to David whose outlook is bleak and crisp. Not quite robotic, but so straight forward you can hear the silence in Lanthimos’ world which built on order with sex and romance as calculations, not experiences. Farrell is surrounded by a trove of good actors in Ben Wishaw, John C. Reilly, and Léa Seydoux. When she finally appears Rachel Weisz is a great match and brings the second half of the film to life. Her voice-over nicely bookmarks the film although continuously reminds us of her pending arrival.
However, The Lobster appears to end a few times and slightly drags itself out. A key action sequence does not cause any affect in action or in emotion for the characters, stalling out the momentum of the final act. The hanging ending made me gawk, but the whole film was an exercise in laughter, disgust, and poignancy. An exercise that thankfully never endorses anything, but rather imputes the cyclical patterns of how we construct who we value. Or even how we value ourselves and each other based on public affirmations of worth through coupling. The film will surely be an Oscar contender.
Seven Guffaws & A Knee Slap
October 31, 2012
Seven Psychopaths (2012).
D/W: Martin McDonagh. DP: Ben Davis. Starring: Colin Farrell/Sam Rockwell/Christopher Walken/Woody Harrelson/Abbie Cornish/Tom Waits/Olga Kurylenko/Gabourey Sidibe/Michael Pitt/Michael Stuhlbarg.
Every know and then there is a film that catches me off guard. Either I haven’t researched it obsessively enough or simply, its marketing didn’t reach me. Seven Psychopaths was one of these. And now it is one of the most memorable films of the year.
Previously nominated in 2009 for best original screenplay for In Bruges, screenwriter and director Martin McDonagh is at his best here. McDonagh has better command of his story and the rhythm of this world. Frankly, In Bruges was not for me. However, this film uses its humor and violence to create a dynamic world that is unforgettable.
Seven Psycopaths might appear to be just another movie about crazies. But rather it is a film about storytelling, its frustrations and how one idea can manifest itself in your own life. As writer Marty (Colin Farrell) attempts to write a new screenplay amidst an alcohol haze, his concept of seven psychopaths that aren’t any good and doing what they do takes on a life of its own. But rather than falling into a silly “this is how we make a movie” story, the film takes off in exploring just how ridiculous psychopathic scenarios are and how specifically the movie business has heightened this silliness. This is where McDonagh’s writing shines. He is able to build moments within in the movie that actively debunk movie conventions while also embracing them for what they are and the pleasure they provide.
Additionally, Seven Psycopaths is a success because of the group of actors involved. Farrell roots the story in realistic egotistical handsomeness, that actually works here. His character is able to balance out the many moods of Sam Rockwell, who nearly steals the whole film. Christopher Walken, now a walking caricature of himself, simultaneously gives his scenes violent humor and tenderness that round out the group of misfits. Woody Harrelson has a fun turn as a crazily intense psychopath looking for his dog. Once you’ve seen his menacing act you’ll laugh to think Mickey Rourke originally had the part.
One of my major gripes in the film is the complete dismissal of women. They all die, are bitches or just provide a catalyst for the action.Out of seven psychopaths only one is a woman and she works in a team (with a man) rather than on her own. However, it is healthy to let go of gripes and regardless, Seven Psychopaths is brilliant and should remind everyone why we just might not have needed that re-make of Total Recall…