2005 was my favorite recent year for American films. We had Batman Begins, Brokeback Mountain, and a re-release of Louis Malle’s Elevator to the Gallows from 1958. (That technically shouldn’t count but it’s such a cool movie I have to include it.) As much as I liked those films, though, Capote was the one that made the biggest impression on me. It’s got a fearless Academy Award winning performance from Philip Seymour Hoffman as Truman Capote and it’s both a fascinating true crime story and a keenly observed morality play.
Capote traces the genesis of Truman Capote’s masterpiece "non-fiction novel," In Cold Blood, from the shockingly violent mass murder in a small Kansas town that was its subject to Capote’s ascendance as one of the most revered authors of his time. What transpires in between is a disturbing account of an artist manipulating the source of his inspiration - his death row muse, if you will - into providing him with the necessary materials to make an undisputed literary work of art. In Cold Blood is one of the most important books of the 20th century, not only for its brilliantly paced tragic story but also for its resolute humanization of its despised protagonists. But it’s not left wing agitprop; it’s a chilling glimpse into the depths of darkness. What director Bennett Miller does with his film is to posit that Truman Capote crossed an ethical line by getting in the middle of his story and that, for all of the success it brought him, it sowed the seeds of his later ruination.Continue Reading
While Saturday Night Live has been a talent generator for the last forty-something years, as a sketch show it usually sticks with the obvious and the more tried and true formulas. On the fringes of television (usually cable) is where one finds the sketch shows that truly innovate and surprise: Mr. Show, Kids in the Hall, Chappelle’s Show, and The Ben Stiller Show, to name a few. But for my money, Comedy Central’s Key & Peele is the best sketch show since the era of SNL. Besides the outstanding and committed performances the two actors Keegan-Michael Key and Jordan Peele give, the skits always seem to go down the least obvious route. Interestingly, the biggest influences on the show don’t seem to be the golden age of television’s Your Show of Shows or England’s Monty Python, but instead The Twilight Zone.
There’s an eerie element to the humor of Key & Peele and often an M. Night Shyamalan-like twist at the end of each bit. So it’s not surprising that for Peele’s directing debut (which he also wrote), he would make a proto-horror flick. Get Out is definitely less Lorne Michaels and more Rod Serling -- and even more Ira Levin (Rosemary’s Baby, The Stepford Wives, Deathtrap) with a sprinkling of Blaxploitation’s most outrageously paranoid thrillers (Ganja & Hess, Da Sweet Blood of Jesus and especially J.D.’s Revenge).Continue Reading
Living in Oblivion
An artist painting about art. A writer writing about writing. Here is a film from a filmmaker about filmmaking. Yes, this film may appeal most to all filmmakers of any trade, but aside from its low-budget-independent-film-reference-allure, the film is just as funny as it is smart and can be enjoyed by a wide audience.
Filmmaking in the independent scene is not an easy trade. Boom microphones find their shadows in shots. Good craft service can be hard to come by. The camera assistant might not understand how to keep a shot in focus. Your actress will do her best performance when the camera is not on. And, you can wake up sweating, from this terrible nightmare.Continue Reading