Hey folks, Harry here with Gus Van Sant's latest film, FINDING FORRESTER... we haven't been getting all that much info on this film, but what word we have had has been pretty positive. This is along those lines again. Stig is our man watching this one...
Harry!
So how's it goin?
Life is good over here, and I was exceedingly fortunate enough to see Gus Van Sant's latest film last night, FINDING FORRESTER. Ever since the death of River Phoenix, Van Sant has vowed to exclusively make "life-affirming movies", and his latest is no exception. The film is scope, runs 2 hours and 10 minutes (though tinkering is still being done, hence the pushed release date), and has a price tag of 42 million.
There will be a lot of comparisons to GOOD WILL HUNTING, and justifiably so: FORRESTER is the literary counterpart to the mathematically-themed HUNTING.
But, FORRESTER is less of a mainstream endeavor, despite the similarities in plot between the two films. Despite the traditional narrative, Van Sant has created a very original and inventive VISUAL narrative.
Memorable is Harris Savides' cinematography. He worked with Fincher on THE GAME and also shot the beautiful THE YARDS which was released earlier this year. FORRESTER is equally as beautiful as the latter films, but in a raw, extremely dark, and even Kodachromic way. Van Sant has a history of working with brilliant DPs (Yves on GWH and Chris Doyle on PSYCHO), but what is remarkable is that each of his films have a distinct look, and Van Sant's style matures with each film.
Also impressive is the editing by Dogme 95 veteran editor Valdis Oskarsdottir. If you've seen JULIEN DONKEY-BOY or FESTEN, then you know how the pacing and cutwork on those films give them a unique quality, and Valdis has brought this von Trierien technique to FORRESTER with a subtle pizzaz. The basketball sequences are brilliant, and he did an incredible job working with Van Sant's unusual dialogue coverage in making a very sharp, refreshing, and upbeat sentimental drama.
It's obvious that Van Sant's friendship with Harmony Korine has influenced his films tremendously--and in a good way!
FORRESTER could garnish many an Academy Award nomination--both for technical and dramatic categories--ala GWH.
As for the story, it's a spin on the typical mentor/student relationship, but with authentic and smart urban dialogue that helps the film stand apart from your typical Hollywood fare.
A 16 year old African-American student named Jamal is underachieving at his urban high-school; pulling a 'C' average but scoring in the top-half percentile on standardized tests. Like Will Hunting, Jamal has a gift: he is a literary genius.
Through a series of intelligently written circumstances, Jamal meets William Forrester, a Salinger-esque recluse author who comes to mentor Jamal as he makes his transition from urban high-school to a pseudo-Manhattan private school.
And if you've seen the crappy trailer, you know the rest...
Things I liked:
1. Every performance! Van Sant obviously has a knack for harnessing authenticity from his actors--and FORRESTER is no exception. In particular, I enjoyed newcomer Robert Brown as Jamal. There is one scene involving he and Anna Paquin (as a daughter of a Board Member at Jamal's new private school) in which Jamal shows Paquin's character how to dribble the basketball and drive the lane. Their interaction is very delicate and subtle--quite an intimate moment and handled well by the writer (Mike Rich) and Van Sant. Also, Busta Rhymes--worry not--is really sharp (and funny!) as Jamal's brother.
2. DP work and editing: I've already talked about this before, but the look of the film is unlike any mainstream film you've seen in a while (similar to the look of THREE KINGS), and the pacing, the way the basketball scenes are cut, the seamless transitions between different points in the narrative are amazing.
3. The musical score, a combination of original scored music and old Miles Davis' tracks (a bit mellower than Bitches Brew, though), give a dark, mysterious, and even TAXI DRIVEResque feel to the Bronx.
Things I didn't like:
1. The story is a bit simple, and I would like to see Van Sant work on something moreso quirky, along the lines of MY OWN PRIVATE IDAHO. But that's simply a personal qualm.
2. The final 20 minutes are a bit of a let down, that is, I don't think they have been fully realized and cut properly in the editing room.
The film is a very quiet and personable film. A lot of time focuses on the relationships between two characters at a time, and how Jamal's distinct friendships influence who he is and how he behaves/percieves the world. There are many suspenseful moments (a championship basketball game, writing competition), but Van Sant refuses to milk them for sentimentality, and instead allows the film to be what it is--no need for melodrama.
That my friends, is something to admire: an Oscar Season film that doesn't patronize the Academy!
I found out that the film is STILL being fooled with in the editing bays, and hopefully it will be tidied up and shortened. Otherwise, no qualms, and in a year of mediocrity, this lovely tale of friendship and living up to your potential is one of the best films of the year.
Thanks dudes,
Stig Helmer
