Well here we go with yet another film fest report from New York. Cool. I love getting these advance reports from Film Fests, it sort of gives film fans a handicap guide to go by. I've only seen one of the following, GODS AND MONSTERS, and well, I feel the film is quite honestly.... incredible. It's got the best performance by Ian McKellen. Sure I love APT PUPIL, but his performance in G&M is just quite frankly stunning. I'll be having the pleasure of introducing this film during the AUSTIN FILM FESTIVAL. I'll be doing the same with Miramax's fantastic THE MIGHTY (a film that should be moved to December so it has a better chance at Oscars). But on with the fest reports, keep em coming folks, the more the merrier....
Here's more New York Film Festival reviews. "Velvet Goldmine" screened today for the press (the public screening is Thursday and Saturday), while "I Stand Alone" and "Gods and Monsters" screened over the weekend for the public.
I’ve got two words for those of you who can’t wait to see Todd Haynes’ new glam rock extravaganza: don’t bother. "Velvet Goldmine" is a dud. You’re better off watching one of those "Back to the 70’s" documentary specials on VH1. I bet they’re much more interesting and entertaining than this film. And there’s such a buzz on this film! I don’t get it. Yes, it has a killer cast (Ewan McGregor, Toni Colette, Christian Bale, Jonathan Rhys Meyers), but their talents are totally wasted. Their characters are completely underdeveloped. What Haynes does is glaze over the material. It is such a superficial treatment of that 70’s movement—almost like the music itself. I know Todd Haynes can do better. His "Safe" was a truly original film. But here, I think he’s more interested in making a film that becomes some sort of "cult classic," than making a film that has good dramatic content.
"Velvet Goldmine" follows the rise and fall of fictional British rock star Brian Slade (Rhys Meyer). We learn about his life through accounts of the people who were close to him at the time: his collaborator and sometime lover, Curt Wild (McGregor), his ex-wife, Toni Colette, and his old manager. Christian Bale plays a reporter assigned to do a story on the legendary rocker. As the story unfolds, Bale’s own memories of the era come to light. But that’s it. That’s the whole film right there. There’s a few interesting performance scenes here and there but that’s all. The structure of the film (framed by the reporter’s investigation) is extremely conventional and we never get to know any of the characters enough to give a damn about them. The film runs 2 hours and 3 minutes, and by the first hour I was already dying to get out of the screening. I stuck it out, though, thinking it might pay off but I was sorely disappointed. The second hour is pure torture. It just lags on and on toward a predictable end.
Visually "Velvet Goldmine" has a lot of flair. The era is beautifully recreated. The costume and set designers did a great job. The film is definitely well shot and edited. But unfortunately there’s nothing holding it together. There’s also some pretty good tunes in it. The soundtrack might be a big seller (it’s mostly original stuff and a few oldies thrown in for good measure).
After the film, I eavesdropped on a few conversations between members of the press. They all agreed, the film just didn’t work. It’ll be interesting to see how the public responds once the film opens. Maybe "Velvet Goldmine" will actually end up being a midnight staple like "Rocky Horror," with people dressing up in platform shoes, glittery makeup and velvet overcoats. That’s probably the best way to enjoy this movie—as a celebration rather than as a moviegoing experience.
By contrast, "I Stand Alone" is probably the most original and disturbing film I’ve seen in quite a long time. It is definitely one of the festival’s highlights. Directed by Gaspar Noe, this French-language film tells the story of a deeply-disturbed 50-year old butcher who’s so disappointed with the world he’s at the brink of lashing out in extreme violence at anything or anyone who’s ever done him wrong. Through 90 excruciating minutes, we are allowed a glimpse into this man’s mind, while we wait for him to explode at any minute. It is at once intriguingly fascinating and terrifying. This ain’t no "Henry, Portrait of a Serial Killer." (No offense to all of "Henry’s" fans out there). This is an intelligent, artistic, jarring piece of work, although, I should note, it’s certainly not for everyone. There is very explicit sex and graphic violence in it. (Before the screening, the director warned the audience about the content matter by saying that someone at the Toronto film festival had fainted).
This film will undoubtedly stir a lot of controversy. Everyone will be talking about whether or not the violence is warranted or simply excessive and gratuitous. And also, whether or not the filmmaker has a moral duty to indict the character’s actions (the film doesn’t judge him). These are important questions, but I’ll leave you to judge for yourself. Just go see it. If you don’t, you might miss one of the great films of the 90’s.
Another film I saw at the festival was "Gods and Monsters." It’s based on the life of 50’s director, James Whale, who was the genius behind "Frankenstein" and "Bride of Frankenstein." Whale is played by another genius, Ian McKellen, and his performance is nothing short of brilliant. Brandon Frasier plays a yard boy who befriends Whale during the last days of his life. The story is very moving, even though it’s a little slow at times. Frasier is not what you would call a great actor and when you put him in a film with Ian McKellen and Lynn Redgrave (who plays Whale’s longtime German maid), he looks even worse. Expect a Best Actor nomination for McKellen and possibly a Best Supporting Actress nod for Redgrave. They’re that good.
More reviews soon,
IGOR
