A lot of films about drugs and drug users take an exploitive yet ultimately moralistic tone about their contentious subject matter. Actors are given scenery to chew as either addicts or dealers. Junkies waste away tragically, but elegantly, and the dealers are suave thugs making the most of their Faustian bargain of a career. So often we are meant to envy the way the characters give a middle finger to societal rules and yet, when they ultimately reach their downfall, we are encouraged to feel morally superior. Call it a cultural byproduct of our country's draconian drug laws where all drugs are equally bad. (Except for alcohol which never causes any problems whatsoever.)
The thing I love about Go is the refreshing lack of judgment on the characters. It’s a movie about a random assortment of relatively amoral young people in L.A. in one insane 24-hour period. They work dead end jobs, they go to raves, and they take ecstasy. They’re basically good kids, just young and broke and out for a good time. They get into trouble, but not the kind of finger-wagging clichÃ©d trouble that a bad screenwriter would normally concoct for these characters. It's more of the absurdist kind of trouble that Quentin Tarantino used in various plotlines of Pulp Fiction.Continue Reading
Stories We Tell
They say history belongs to the victors, and right or wrong, the person who tells the story gets to make up their own version of history. Actress and filmmaker Sarah Polley’s brilliant (and frankly ingenious) documentary Stories We Tell uses fragments and pieces of memory to tell her own and her parents' story, but without giving away too much, there are many surprises and twists. With the opening narration by her father, actor Michael Polley (of the Canadian TV series Slings and Arrows), you think the film is through his eyes, but eventually you come to realize he may be reading from a text written by Sarah. He tells the story of his relationship with Sarah’s mother Diane, also an actress (who passed away when Sarah was eleven), which fully comes to life, aided by wonderfully edited-in apparent home movies. But as other family members and family friends tell the same stories from different points of view, you also come to realize nothing is as it seems. Everyone has different memories and different points of view, some only coming in fragments. What starts out as a complicated tribute to an artistic family eventually becomes almost a mystery as major family bombs go off. In the end, Stories We Tell becomes one of the most gripping and unique personal documentaries ever made.
Growing up, everyone thought Diane was a “good time Charlie”--an attractive life-of-the-party, a loving free spirit--even though she had two young children from a previous marriage. Michael was a dynamic young British actor on stage, but off, more of an introvert. He was private and she was outwardly showy. Looking back, Michael is convinced Diane fell in love with the characters he played on stage, and was disappointed with who he really was. Nevertheless, the two got married and raised a family. But after some years the marriage grew stale, especially as Diane grew more frustrated with Michael’s lack of career ambition. To both of their relief, Diane was offered a play in Montreal, while Michael stayed back in Toronto with the kids. After a long separation, the two were reunited and were able to rekindle the romance briefly, even having another child together, who turned out to be Sarah. After Diane’s death from cancer, Michael fell into depression, but was forced to raise his little daughter alone. It’s about at this point in the documentary that it starts to come out through different memories that Sarah must have been conceived while Diane was in Montreal and that dear old Michael might not be her biological father. And here Sarah begins to track down all the men who conceivably may have had an affair with her mother while she was away. And then the film takes a big new turn....Continue Reading
The Adventures of Baron Munchausen
GILLIAM’S ISLAND From the clunky, cluttered, and effectively eclectic mind of director Terry Gilliam comes this fabulous wunderkind of a film known as The Adventures of Baron Munchausen. One of my personal favorites indeed! Munchausen comes as the third installment of Gilliam’s unofficial trilogy. The previous two films include Time Bandits and Brazil.
A CITY UNDER SIEGE In the midst of a war-torn city its residents are struggling for survival. Momentarily distracting themselves from their distraught surroundings they watch a depiction of Baron Munchausen’s adventures being put on by a local theatre company, Henry Salt And Son [“It’s traditional”]. However this reenactment becomes interrupted by the authentic Baron Munchausen (John Neville) himself! He’s old and cranky and he clamors onto the stage to set the record straight about himself and his adventures. Did I mention he’s a liar? Or is he?Continue Reading