Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Our man in Chicago should have his best of 2002 list done right around the time we see that second MATRIX film this year, so until then, let’s see what he has to say about this indie film called HALE BOPP...
Hey, Harry. Capone in Chicago here. I know I’m desperately behind in getting you my Best of 2002 list (I think last year I held the title of latest regular contributor to submit a list), but this week I’m seeing the last couple of films that qualify as 2002 releases that I think might have a shot. In the meantime, I have a look here at a film many of you may never get the chance to see, and that would be a shame. It’s difficult to count how many “relationship” films I’ve seen in the last year, and nearly every one bored the spit out of me. A handsome couple meets, doesn’t get along, overcomes their differences with the help of colorful friends and family members, and comes together by the end of the film to the strains of a catchy pop song. I think I’m about to lose bladder control just thinking about it. The Chicago-based production known as HALE BOPP asked the cinematic question, What if said couple meet, DO get along, but get help up trying to overcome their differences. What if they are, in fact, too different to survive these roadblocks.
Set in Chicago 1997 (the year the once-in-a-lifetime comet came into view on this planet), HALE BOPP introduces us to Rachel, played by newcomer Andrea Mustain, a beautiful and aggressive woman who seems to have a habit of picking up men in bars, going to bed with them, and wanted nothing to do with them the next morning. Rachel isn’t a femme fatale, she isn’t cruel or predatory, she’s simply a vibrant soul with serious abandonment and commitment issues stemming from a troubled relationship with her father. From the looks of things in the film, Rachel may also be on the verge of a serious drinking problem.
At an apartment party, Rachel meets Ethan, a New York transplant who works with some of her friends. And Ethan soon becomes Rachel’s latest target. It doesn’t take long, however, for Rachel to realize Ethan is different. In fact, he may be perfect for her (if there is such a person). Naturally she does everything in her power to dissuade him, and act like his presence in her life isn’t crucial even though it clearly is. More than once, her friends explain to her that, like the Hale Bopp comet, something like Ethan only comes around once in a lifetime...stop laughing!!!
Okay, there are definitely things about HALE BOPP that border or topple over into Relationship Movie cliche (dorky comet metaphors are the film’s low points). There are a few too many wordless scenes of Rachel and/or Ethan starring off into the Chicago night while acoustically driven music plays. I suppose we’re just supposed to know what they’re thinking based on their thoughtful gazes. Also the couple spends so much of their time together arguing about mostly her behavior and reputation that we don’t really get to see them at peace. There’s very much a fight-makeup-fight-makeup rhythm to the film, and the couple makes up without every seeming to understand what they were fighting about in the first place.
But more about HALE BOPP succeeds than fails. Mustain portrayal of Rachel is the real find here. I pray the right people see this film and discover her. She’s one of the most real portraits of a modern woman I’ve seen in the movies. She’s beautiful without being unapproachable. She’s sexually forward without being overtly slutty. In other words, I wouldn’t kick her out of bed (in my single days, of course). There’s a subplot involving Rachel taking photos of sick children in a hospital that, I think, is supposed to show us she’s artistically deep, but it felt a little forced. Her behavior at times is unlikeable, and I felt these hospital sequences were trying to make us see she’s a good person. The thing is, she doesn’t have to be a good person for this movie to work. The more flaws the better.
I’m also a fan of John Jordan, who plays Rachel’s best friend Bart. His character is crude, rude, and lude, and extremely funny and well-played. There’s a point where Bart goes from comic relief to critical part of the proceeding that marked a nice turn in the film. Overall, however, the film works best when it examines the age-old double-standard of judging men and women by their sexual history, a subject tackled in another Chicago-set film from many years ago, ABOUT LAST NIGHT... Not surprisingly, there are a few overlapping ideas and situations between the two film, but nothing unforgivable. I still appreciate a nice cinematic tour of Chicago’s finer romance spots.
HALE BOPP is largely the product of one man, writer-director-editor Chris Rubeo, who gives backbone to what could have been a hack-job indie love story nightmare. The film has a great look, only one or two stilted performances, and an absolutely stellar lead actress. The future of this film is uncertain at this point. It’s been screened a few times in Chicago, but beyond that all I can say is Keep your eyes out of this small wonder.
I know I’ve got a gangster’s name, but inside, I’m about as hardcore as a HELLO KITTY lunchbox. Write me and we can play a round of MYSTERY DATE!!
Awwwww... Capone, ya big softy. Nice work, man.
"Moriarty" out.
