Shining Through a Hazy Fog
March 11, 2015
Still Alice (2014).
D/W: Richard Glatzer & Wash Westmoreland. DP: Denis Lenoir. Starring: Julianne Moore/Alec Baldwin/Kristen Stewart/Kate Bosworth/Hunter Parrish/Shane McRae. (based on Lisa Genova’s novel of the same name)
Many a time a performance has stood out against the backdrop of a weaker film. Still Alice joins that group of films which arguably includes many an Oscar winning bunch. Indeed, what ultimately is spellbinding is the acting talents of Julianne Moore.
The co-directed and co-written film follows renowned Columbia University psychologist Alice Howland (Julianne Moore) who has just turned fifty and started to have moments of memory lapses. The film drops us into her experience right away and uses clever close ups of her communicating her symptoms to her doctor, who is kept off-screen for a short while. Alice eventually reveals her situation to her husband John (Alec Baldwin) and begins her early onset Alzheimer’s journey. This of course includes sharing this painful news with her three children.
Still Alice is somewhat faithful to its source novel by Lisa Genova, but misses a few important beats. In the novel Alice feels so isolated by her husband’s and co-workers reactions to the disease that she seeks out her own community. She creates a social group at her home for other early on-set Alzheimer’s patients. By removing this important plot line Alice is not given much agency in her care taking. Other plot points, like her visit to an Alzheimer’s home, feel marooned without a thread to film’s narrative. Also some parts of the script are glaringly weaker than others or appear disingenuous, which is never at fault in the novel which is memorably told in first person.
The film is thankfully able to root itself in Moore’s performance, specifically in her eyes. Moore is able to give Alice an intelligent transparency that thread lines throughout the film despite her character not being very established before things fall apart. One almost wanted more screen time from her despite the miscasting of Baldwin as her husband, does anyone buy him as a scientist? Kristen Stewart is decent as her youngest daughter Lydia, though she lacks the fire to match Moore. The film’s editing and pacing make some transitions slightly jarring and unfortunately it is simply a testament to Moore’s abilities that one is moved in the end. One cannot help see this film in tandem with Sarah Polley’s 2006 excellent film, Away From Her, based on an Alice Munro short story. Away From Her sees a childless couple go through the same harrowing experience and is the better film overall.
On a final side note, although completely dissimilar in content, Still Alice shares a birth plan with Fifty Shades of Grey. Genova self-published her novel in 2009 before it was picked up a few years later by publishers, like E.L. James. As trends continue in the publishing acquisitions realm it shall be fascinating to see what else is scooped up from writers still trying to get the attention of editors, let alone film producers.
Where is the Courage to Make One Film not Two?
December 23, 2014
The Hunger Games: Mockingjay – Part 1 (2014).
D: Francis Lawrence. DP: Jo Willems. W: Peter Craig & Danny Strong. Starring: Jennifer Lawrence/Josh Hutcherson/Liam Hemsworth/Philip Seymour Hoffman/Woody Harrelson/Julianne Moore/Donald Sutherland/Elizabeth Banks/Stanley Tucci/Sam Claflin/Jena Malone/Natalie Dormer/Jeffrey Wright/Willow Shields/Mahershala Ali. (Based on Suzanne Collins’ novel of the same name)
This holiday season began with the much awaited third installment in Suzanne Collins’ young adult The Hunger Games series. Picking up where Catching Fire left off, the film finds Katniss Everdeen (Jennifer Lawrence) awakening from the all-star games to the world of District 13, thought to be completely destroyed. She is quickly asked to become to symbol of the resistance, the mockingjay, and must decide where her loyalties fit in this new terrain.
Francis Lawrence, a primarily television and music video direct whose last feature film was 2011’s Water for Elephants, picks up the series seamlessly. There is a nice visual continuity between the film and its previous two, The Hunger Games: Catching Fire and The Hunger Games. This is difficult, but possibly an expression of his work with cinematographer Jo Willems. This team has the harder task of creating an atmosphere even bleaker than the previous films and much more transitional as one novel has been stretched into two films.
Peter Craig and Danny Strong’s script is adequate, but just simply cannot pack the same punch as the story ultimately feels thin. The emotionality of the cut off point for this film falls flat and unfortunately emphasizes the romance rather than the action and choices of Lawrence’s Katniss. This is the harder text to adapt as it lacks a games, but it should have been split into two films.
However, the saving grace in Mockingjay – Part 1 is Lawrence as Katniss. Shouldering the emotional weight of the film, her determination through trauma is felt through the camera and she is able to take the audience on a journey through understanding her own pain. Her chemistry with Hemsworth’s Gale is finally given service here, which Lawrence is able to give considerable depth too. It is nice relief to the rest of the film as one almost forgets that Katniss is only a teenager. Philip Seymour Hoffman is rather great here as Plutarch, giving extra sparkle to his lasting memory. Julianne Moore steps well into President Coin, but her severe gray wig actually distracts from her controlled performance.
Ultimately, the film serves its series well but cannot eclipse the extremely well handled Catching Fire. I would argue that Mockingjay is the least engaging of the novels and actually the most sad. As young adult fiction goes, it rounds out the series very well, a rare fete as this novel is so distinct from the first two. Therefore, I am inclined to forgive aspects of the film as the source material is just not the same. But we will all just have to wait and see how part two plays out.