From Sofia Coppola’s Netflix special A Very Murray Christmas (2015). A cool Yule.
From Sofia Coppola’s Netflix special A Very Murray Christmas (2015). A cool Yule.
Just when I thought I was out they pull me back in. As Michael Corleone (Al Pacino) ages and has a place of respect in society having divested himself of his casinos, he finds that being the head of the Corleone crime family isn’t getting any easier. He wants out of the Mafia and buys his way into the Vatican Bank but NYC mob kingpin Altobello (Eli Wallach) isn’t eager to let one of the most powerful and wealthy families go legit. Making matters even worse is Michael’s nephew, Vincent (Andy Garcia) the illegitimate son of Sonny. Not only does Vincent want out from under smalltime mobster Joey Zasa (Joe Mantegna) who’s now got the Corleones’ New York business, he wants a piece of the Corleone family’s criminal empire, as well as Michael’s teenage daughter, Mary (Sofia Coppola) who’s crushing on him. Ex-wife Kay (Diane Keaton) appeals to Michael to allow their son Anthony (Franc D’Ambrosio) quit law school to pursue a career as an opera singer. A trip to Sicily looms as all the threads of the Corleone family start to be pieced together after a massacre in Atlantic City and scores need to be settled … Why did they fear me so much and love you so much? Francis Ford Coppola revisits the scene of arguably his greatest triumph, The Godfather Saga, with writer Mario Puzo and yet he viewed it as a separate entity to that two-headed masterpiece. Perhaps it’s a riff on the material or a tribute act. The transition is tricky with a brusque crewcut Pacino boasting a different boo-ya voice at the beginning when the Catholic Church honours him following a $100 million donation; and the symbolism writ large in the concluding sequence, a performance of Cavalleria Rusticana in which the weakness of our own central Christ figure is punished with the greatest violence – the death of close family. This story then mutates from a pastiche of its previous triumphs to a a pastiche of an opera. Michael is doing penance for the death of Fredo, his dumb older brother who betrayed the family. He is physically weak from diabetes and the accompanying stroke; his efforts to go totally legitimate have angered his Mafia rivals from whose ties he cannot fully break and they want in on the deal with the Vatican; his brother Sonny’s bastard son Vincent is nipping at his heels while sleeping with his own daughter; he is still in love with a remarried Kay, whom he finally introduces to Sicily; he is in bed with God’s own gangsters. It’s a sweeping canvas which gradually reveals itself even if the setup is awkward: we open on the windows at the Lake Tahoe house and see they are decorated with inlaid spider webs: we soon see that sister Connie (Talia Shire) is the wicked crone behind the throne in her widow’s weeds, her flightiness long behind her. Like Wallach, her performance is cut from the finest prosciutto as she encourages Vincent in his ruthless ride to the top of the crime world. Mantegna isn’t a lot better as Joey Zasa. Wrapped into real life events at the Vatican in the late 70s/early 80s which gives Donal Donnelly, Raf Vallone and Helmut Berger some fine supporting roles, with an almost wordless John Savage as Tom Hagen’s priest son, this has the ring of truth but not the class of classicism even with that marvellous cast reunited, something of a miracle in itself: it feels like the gang’s almost all here. I cheered when I saw Richard Bright back as Al Neri! So sue me! And good grief Enzo the Baker is back too! Duvall is replaced by George Hamilton as consigliere, not Coppola’s doing, but because he wasn’t going to be paid a decent salary. What were they thinking?! Even Martin Scorsese’s mother shows up! That’s Little Italy for ya! There are some witty exchanges amid the setpieces when everything beds in and the tragedy is set to violently unwind. The death of Sofia Coppola was the price she had to pay for being her father’s daughter, non e vero? Finance is the gun, politics is the trigger.
I would love to get some sleep. What an arresting film this is. It starts with a closeup of a woman’s behind, clad in pink panties. She’s lying in her room at the Tokyo Hyatt while her photographer husband is off doing his thing. They’re a very young married couple. She is bored. She is Charlotte (Scarlett Johansson), he is John (Giovanni Ribisi). When she calls home for support her mother misunderstands so she pretends she’s having a good time. Bob Harris (Bill Murray) is a huge film star, in the city to shoot some ads for Suntory whisky. He notices Charlotte in the elevator but later it turns out she doesn’t remember seeing him. He endures ridiculous directions on the set of his commercial and doesn’t believe the translator is telling him everything the director wants (she’s not). He encounters Charlotte at the hotel bar where a band called Sausalito performs cover versions. They sympathise with each other and then wind up spending time together. She can’t bear her husband’s acquaintances, especially the nutty movie star Kelly (Anna Faris) who masquerades under the pseudonym Evelyn Waugh: he thinks his wife is a condescending snob when she points out Evelyn Waugh was a man. Charlotte and Bob hang out, explore this alien city, so brilliantly shot by Lance Acord, who used no additional lighting in that neon landscape and a lot of the stuff in railway stations was shot minus permits so it’s loose and documentary-like. Murray is so specific and yet relaxed and it’s one of the great film performances, awarded with a BAFTA. Johansson is no less good with her very different style, duly noted by BAFTA voters too. Coppola had spent time in Japan and the character of Bob is supposedly based on family friend Harrison Ford with Charlotte a riff (perhaps) on herself. There are some great sequences with the limpid photography sensing something – let’s call it empathy – between the two in various iconic locations: the karaoke bar; the strip club; escaping Kelly’s terrible singing in the hotel; the hospital; lying on a bed together with Bob holding Charlotte’s injured foot (how very fitting in a country famous for the foot fetish) and finally falling asleep. His inevitable sexual encounter with the lounge singer doesn’t surprise us because when he tells his wife on the phone I feel lost she doesn’t understand. It’s a twenty-five year old marriage and Charlotte is so young and yet they both come to an understanding about their private situations with this mutual experience of incomprehension and loneliness. When he tries to explain to Charlotte how he feels about his life he says having a family is hard. She gets it but deflects it by asking him has he bought a Porsche. So much of life is lost in translation even in funny scenes such as when Bob is at the TV station with the Japanese equivalent of a lunatic Johnny Carson. People are lost inside of marriage. An undertow of sorrow tugs at everything and threatens to unravel the subtle construction which concludes in the final shots with the famously unscripted whispered exchange, inaudible to anyone except the performers. I first saw this 24 hours after landing in LA in 2003 and was utterly jet-lagged – so a propos for a film equal parts startling and narcotic: seeing a stripper perform to Peaches certainly wakes a person up from airline slumber. The songs are especially well chosen in an atmospheric soundtrack with a score by Kevin Shields of My Bloody Valentine. Sofia Coppola won the Academy Award for Best Screenplay and was nominated for Best Director too. This was her second film and it’s pretty awesome with a lot of the tropes now so familiar from her body of work – hotels, alienation, the unknowability of women. You can read my review of a book about her films here: http://offscreen.com/view/sofia-coppola-a-cinema-of-girlhood. Right after I saw this I was scared witless by the re-released Alien at the Cinerama Dome and then nearly got arrested for jaywalking on Hollywood Boulevard. But that’s another story.
You vengeful bitches! I had high hopes for Sofia Coppola’s take on the Don Siegel Southern Gothic movie that made such a difference to our perception of Clint Eastwood way back when. Coppola has created such an interesting catalogue of films that are female-centred and immediately recognisable from their diffused palettes, lens flare, sense of mystery,soundtracks, alienation from family and the ultimate unknowability of teenaged girls. Colin Farrell plays Corporal John McBurney, the Irish soldier of fortune fighting for the North lying wounded in the woods near Martha Farnsworth’s boarding school for young ladies in deepest Louisiana when he is found by little girl Amy (Oona Laurence) on her daily mushroom-picking trip. She drags him back to the almost derelict building and the decision is made not to report him to the Confederates passing through the area despite the objections of staunch loyalist Jane (Angourie Rice, who was so great in The Nice Guys). There are only five students and the eldest is Alicia (Elle Fanning) and their teacher Edwina Dabney (Kirsten Dunst) is the woman most obviously hot to trot – sad and clearly desperate for a man and a reason for escape. Farnsworth (Nicole Kidman) tends to McBurney while he is unconscious and there are a lot of shots of water pooling in the cavities of his neck and abdomen. His objectification is writ large by the simple expedient of not having the camera include his face. Farnsworth admits to having had a man before the war when McBurney asks but as each of the girls enters his room to get a look at him and steal a kiss (a foxy Fanning) he realises he can play them off against each other. He learns to walk again and helps out, cutting wood and generally being the maintenance man. But all the while he has become the women’s fantasy. The problems really begin when each of them finds out what he is doing with the others. When Edwina invites him to her room after a particularly excruciating dinner and dance in this Gothic manse, she finds him having sex instead with Carol and takes terrible revenge …. And Farnsworth aims at keeping him there forever. There is something not quite right about the film. The control and the tone never really articulate the plot’s inherent collective madness, something that was so brutally effective in the earlier adaptation. The photography doesn’t come close to the beauty of Bruce Surtees’ work and that is surprising given Coppola’s customary attention to appearances (and the consequently unfortunate effect on the way Kidman appears). The relative containment of the story to the building doesn’t really work since so many of the shots are repetitive and one has the paradoxical desire to see more of the outdoors. Coppola has dropped some of the previous film’s elements – the black servant, the flashbacks to Farnsworth’s incestuous relationship with her brother – and this vacuum is not replaced with enough plot to sustain the story’s mordantly black tone. The performances are uniformly good and Dunst and Fanning are obviously back working again with Coppola. (And if you still haven’t watched Marie Antoinette go look at it now to watch Dunst give a complete performance as the child bride.) Farrell gives a good account of himself as a man who can’t believe his good luck even if it’s quite disconcerting to hear him speaking in an Irish accent. The young kids are very good in their roles and while Dunst’s part is not written especially well the sex scene with her buttons spilling over the floor is one of the best things in the film. Fanning is just a little too odd – but she has definitely grown up since Somewhere. Laurence is especially good as the little girl who stands up for McBurney right up until he hurts her little turtle Henry. The revenge is all too clearly telegraphed in a way that it wasn’t in the earlier film and that is the ultimate disappointment: the staircase scene is thrown away. There are some nice touches – the use of jewellery (Coppola loves fetishising sparkly objects) and costume and some Hitchcockian shots of the women’s hairstyles from behind. But it can’t make up for the lack of real tension. There is good use of music – that’s Mr Coppola’s band Phoenix reinterpreting Monteverdi’s Magnificat on the soundtrack and there’s apposite use of Stephen Foster’s song Virginia Belle. Overall however this just doesn’t work the way you want it to do and despite its relatively short length (94 minutes) for a contemporary film it has its longeurs. Coppola adapted the original screenplay by Albert Maltz and Irene Kamp, a woman who was writing pseudonymously as ‘Grimes Grice’ which is the name mysteriously used on the film’s credits. Despite my reservations about this, I find Coppola a fascinating – even beguiling! – director and I’ve reviewed Fiona Handyside’s new book about her in the latest issue of Offscreen which you can find here: http://offscreen.com/view/sofia-coppola-a-cinema-of-girlhood.
Sofia Coppola knows what it feels like for a girl. When the officials at Versailles gave her the very big keys to open up the palace and reimagine a little Austrian girl lost in the vicious and foreign French royal court working from Antonia Fraser’s biography, they probably didn’t picture this – a portrait of teenage decadence in the pastel palette of macaroons (magenta, citron, mint) scored to a New Romantic soundtrack as if she were making an Adam and the Ants video. Kirsten Dunst is the kid sold to the gormless dauphin (Jason Schwartzman) in a strategic alliance organised by her mother the Empress (Marianne Faithfull). Her father in law the King Louis XV (Rip Torn) is like a Texan cowboy carrying on with Madame du Barry (Asia Argento). Her husband has no idea what to do in bed and she’s a giggly kid who spends her nights drinking and gambling with her girly friends and it takes a visit from her brother Emperor Josef (Danny Huston) to explain to the mechanically-minded prospective king about locks and holes, and a year later, finally, the marriage is consummated and a baby girl is born. Seven years of foreplay! The life of conspicuous consumption, of colourful costumes and cookies and candy is swopped for something almost rural and natural at Le Petit Trianon where the young mother holds a different kind of court and succumbs to an affair with the Swedish Count Fersel (Jamie Dornan) and frolics with her little girl in the meadows. The mood alters and the cinematography (by Lance Acord) attains the backlit flared quality of a nature documentary: this is impressionistic and expressionistic all at once, reliant on Dunst’s face and the overall vision of a writer/director in sympathetic tune with her tragic protagonist whose perception of the vicious society over which she holds sway dominates the narrative. The final quarter hour is the nightmare: people are starving because the peasants are bearing the cost of the war in America, and propaganda and lies, dead children and the baying mob are at the door. This is a fabulist film about fashion and feeling and food and it gets into your head and your heart. If you don’t like it, you know what you can go eat. I’ver reviewed Fiona Handyside’s study of Coppola on Offscreen: http://offscreen.com/view/sofia-coppola-a-cinema-of-girlhood.
Jeffrey Eugenides’ novel about a family of five sisters who kill themselves was original, nuanced and heartfelt. Sofia Coppola chose it for her writing and directing debut and on the face of it, and what she’s done since, she makes us know what it feels like for a girl. The portrait of the middle class neighbourhood is nicely satirical and hints at her interest in making the later milieu film, The Bling Ring; the woozy Seventies summertime impressions are just right; that eye for detail (all the stuff on their dressing tables!) totally accurate. In retrospect, this is slighter than it appeared at the time, with a certain vacuum at the centre where emotional rationale might have been, a large question mark regarding the parenting skills of James Woods and Kathleen Turner, a chip missing where we try to gauge the sisters’ motivations. Perhaps that’s the point. The romance between the most beautiful and elusive of the sisters, Lux (Kirsten Dunst) and high school heart throb Trip (Josh Hartnett) is well done and it’s his narration in rehab 25 years later that anchors this in something resembling real life, even if it’s a tangle of memories seen through a narcotic haze. Meanwhile, a bunch of teenage boys gaze in awe at this beauteous timebomb about to implode across the street. There’s (obv) an amazing soundtrack, with a score by Air.
Your butt looks awesome. Sofia Coppola’s interpretation of the notorious gang of narcissistic Calabasas nitwits who trolled the stars of reality TV and robbed them while they were out of town gets a rather bittersweet treatment (the story had already been a TVM but Coppola’s work derives from the Vanity Fair article by Nancy Jo Sales who has also written a book on the subject). The godhead of these brain-dead self-obsessed monsters is stardom itself, the venality espoused by The Secret is their mantra. Beautifully shot, with a disinctive palette and style for each of the nightlit robberies, this is a shocking insight into the mindset of the youth of today, driven by episodes of The Hills, where fashion is feeling and being a wannabe reality monster is all there is. You can feel Coppola’s desperate sorrow for a society which appears to be beyond satire. This is a kind of anthropological view of Adderall-addicted millennials who are clearly a generation without a clue. I’ve reviewed Fiona Handyside’s study of Coppola on Offscreen: http://offscreen.com/view/sofia-coppola-a-cinema-of-girlhood.