HYDE PARK ON THE HUDSON
DEADFALL
THE MAN WHO SHOOK THE HAND OF VICENTE FERNANDEZ
With the holiday season in full swing, and Awards season officially started, there are a plethora of last minute rushes of movies into theatres in order to qualify for Oscar consideration. And while there are plenty of hotly anticipated titles, the real delights are some indie gems that glisten and sparkle like starlight on freshly fallen snow. Filled with intensity, subtlety, nuance, allegory, poignancy and superb performances, this weekend has something for everyone, starting with:
HYDE PARK ON THE HUDSON
A fascinating slice of life at a pivotal point in world history, HYDE PARK takes us into the private world of Franklin Delano Roosevelt. With a tour de force performance by Bill Murray as FDR, HYDE PARK keenly focuses on a weekend in 1939 when the King and Queen of England came to visit. The purpose of their visit was to solicit help from America in the war against Nazi Germany and Hitler. Told in narrative format by FDR’s 6th cousin Daisy (with whom he may or may not have had a romantic dalliance with), it’s as if we are flies on the wall or a piece of furniture in the room as we look into the world of HYDE PARK and FDR through the eyes of Daisy who, while an intimate of FDR’s, felt herself merely an observer, adding a palpable understanding to the tale as if we, too, were at the well publicized picnic eating hot dogs with the King of England.
Performance driven, this is Bill Murray’s film. A surprising choice to play FDR, Murray is spot-on, thanks not only to impeccable make-up, but in his nuance, delivery, vocal and physical cadence, and in capturing elements of humor for which FDR was known. Although many of his mannerisms and poses feel just that - posed like well known FDR photos of the day - it works wonders for establishing historical reference. Where Murray excels, however, is in his chemistry with Samuel West’s King, and particularly in intimate one-on-one scenes between the two. An afternoon meeting sequence lays the groundwork of the relationship between the men and the countries, but the after dinner talk just soars. There is free-flowing sense of truth and candor that is at its best with Murray exuding parental support and guidance and encouragement to the frightened young King. Beautifully performed. Heartfelt and poignant.
Although West does an admirable job as the young King, one can't help but have Colin Firth's Oscar winning performance in their mind while watching him. However, given the specific point in time of this story, West is perfectly cast as it buttresses the paternal relationship that we see between the King and FDR, showcasing the King's youth and inexperience against this strong charismatic world leader. Olivia Williams delivers the most "earthy" and true to life Eleanor Roosevelt than we have seen on film, but she pales with the memory of Jane Alexander's 1976 version which made Eleanor a more formidable presence in keeping with the public image and memory of her, as well as imbuing her with more social charm and grace than we see here from Williams. Every scene in which Williams is present, has an uncomfortable tension and edge that is disjointing and distracting.
But then there's Laura Linney. Mousey, hesitant, tentative, she gives Daisy the demeanor of a 1930's 15 year old with her first crush; sitting at the adult table for the first time but not knowing whether to put the napkin on her lap or under her chin or which fork to use, and still operating under the theory of "children should be seen and not heard." It's a very conflicted performance in the design of the character and I am still unsure if I like it. On one hand, in her scenes alone with Murray there are times we see a freshness and wide-eyed wonder of a child seeing the world for the first time, falling in love with this older man in both a paternal and romanticized way. Interesting and poignantly sweet at the same time. I do like the film being told from Daisy's POV and Linney's narrative with her vocal inflection and accent adds interest, but objective interest as if reporting the news with no bias one way or the other.
The permeating trend I see when I reflect on the film is that in scenes that are 1:1 with Murray and one other person, i.e., Murray and West, Murray and Daisy or Murray alone in a moment of thought, all are emotionally larger than life, poignant, reflective and telling. But get more than Murray and one other person in the scene and there is discomfort and tension. Perhaps this is a design by director Roger Michell to create an emotional "elephant in the room" similar to FDR's braces and wheelchair, but it doesn't feel metaphoric. It feels like a game of "which of things is not like the other" which all but Murray and one other belonging in the scene, but no one had the guts to remove the things that didn’t belong.
Sweepingly romanticized and soft is Lol Crowley’s cinematography which gives the illusion of lensing through a cheesecloth/10 denier nylon , providing HYDE PARK with a definitive look and feel of weathered history as if looking at the faded stamps in FDR's stamp books - still vibrant and telling of life and a time, but a little worn around the edges and softened with the passage of time and memory. Truly lovely imagery. Disappointing however, is that director Michell never allows the camera to linger over the exquisitely apportioned production design, thus losing opportunity for real immersion in time and space.
HYDE PARK ON THE HUDSON looks back on one weekend in history with the warmth and poignancy of an old family album; dusting off the pictures one more time, giving us a new and human look at one man who helped changed history.
DEADFALL
Oscar-winning director Stefan Ruzowitzky delivers an action-packed psychological study of family dynamics and with DEADFALL. As siblings Addison and Liza, Eric Bana and Olivia Wilde, keep us riveted to their unfolding brother-sister relationship. After knocking off a casino, the two are stranded in a blizzard when a spectacular car accident kills their driver. With the appearance of a state trooper intending to help the accident victims, Addison thinks better of it and begins what will prove to be a bloody trail of murder. Believing it better if the pair separate and try to make it to Canada on foot, Addison leaves a scantily clad and freezing Liza to fend for herself as he heads off in an opposite direction. Having always been “looked after” by her big brother, Liza is lost and alone and essentially on her own for the first time in her life.
Enter Jay, a former Olympic boxer who has just been released from a Detroit prison. Already finding himself on the wrong side of the law within hours of his release, Jay hotfoots it out of town, intending to head north to his parents house for Thanksgiving. A perfect hiding place, Jay’s only worry is his father Chet, a retired sheriff who has never forgiven Jay for running afoul of the law in the first place. But, along the way, Jay manages to pick up the beautiful but shivering Liza who is more than willing to give thanks to her knight in shining armor.
And then there’s Deputy Hanna Becker and her father Sheriff Becker. Serving on the force with her dad has more than its share of problems for Hanna as it becomes clear that dad is none too thrilled at even having a daughter, let alone one who wants to ride with the boys and handle a gun. Long time friends of Chet and June, Hanna, who once had a thing going with Jay, is also expected to join the family for Thanksgiving.
With everyone converging on the same geographic area, it doesn’t take long before paths start crossing, secrets start slipping out and Addison leaves a trail of dead bodies - albeit while having the most genteel and perfect Southern manners - and Sheriff Becker in hot pursuit, with everything converging in a western-style showdown at Chet and June’s place over a holiday goose dinner.
Flawless cinematography is courtesy of Shane Hurlbut who showcases the best of everything, achieving perfect visual tone between the cold isolation of a white out with the stark brightness of a sunny snow-covered day and the golden warmth of a family home and holiday kitchen.
Artfully interweaving the various familial storylines, although some rough patches and icy spots, director Ruzowitzky keeps us on our toes not only thanks to Hurlbut’s visuals, but with solid performances by Eric Bana, Charlie Hunnam and Kate Mara. Bana is riveting with psychotically polite malevolence while Hunnam gets to flex muscles of anger and rage to the benefit of the Jay. As Hanna, Mara delivers another thoughtfully observant and compelling performance. The real shining stars, however, are Sissy Spacek and Kris Kristofferson who, as the salt-of-the-earth June and Chet are pure Americana, providing a standard of personal and familial morals and ideals that the rest of the characters want to achieve, but can’t seem to find the paths to do so.
THE MAN WHO SHOOK THE HAND OF VICENTE FERNANDEZ
The real sparkler this week is what turned out to be the final film of the legendary Ernest Borgnine, THE MAN WHO SHOOK THE HAND OF VICENTE FERNANDEZ. Written and directed by Elia Petridis as his first feature, not only is the film charming, but poignantly thoughtful and, in the end, a great tribute to Borgnine.
A former radio DJ, Rex Page always wanted to be a star. Obsessed with westerns and cowboys, he had one film that was his favorite. He memorized every line, practiced monologues from the film, yet he never had a chance to put all that practice to use as an actor. He instead used those characters and stories in his own life, dreaming and lamenting instead of living life. Married for 46 years to his loving and supportive wife Irma, he had a nice home, a good career, a daughter who loved him, a granddaughter who idolized him and fans that adored him. But Rex was discontent and “wanted more” from life.
Winding up in Rancho Park nursing home following an injury at home, Rex is more than disgruntled - that is until the Hispanic workers realize who he is, THE MAN WHO SHOOK THE HAND OF VICENTE FERNANDEZ. Fawning over him with their memories of his radio show and listening to him on their way home from school, they all become star struck on hearing his story about meeting their Hispanic idol, Vicente Fernandez. As Rex begins to bond with the nursing home staff, he discovers first-hand the horrors that are happening around him with the staff and other patients thanks to the evil-doings of administrator Mr. Walker and his right-hand evil-doing doctor, Dr. Dominquez. Looks like Rex is now living his own real-life western.
With his own “deputies” by his side, nurses Alejandro and Solena, Rex takes a stand and vows to help the staff fight back. But at what cost? Because while Rex is bonding with the nursing home staff, he is ignoring his own family, particularly when he gets a call from his agent that there is the “part of a lifetime” for which Rex must audition.
Rooted in the sensibility and conceptual values of a western, Petridis brings VICENTE FERNANDEZ into the 21st Century with metaphor and allegory, incorporating issues of nursing homes, elder abuse, employment harassment, even immigration. Spotlighting good versus evil, all the western elements are present - a sheriff riding into town and picking a trusty deputy, ready to battle the black hats to restore order to the good townspeople. Of course, instead of horses, everyone here is riding around in wheelchairs. As described by Petridis, “The first half of the film is a cartoon. It’s slapstick. It’s not only after that midpoint where all the things you thought were dismissible in that first half, start to have a bit of resonance and give the characters depth.” And depth there is, not only with the characters themselves, but with the actors.
Described by Petridis as being “a star of the people” Borgnine is perfection as Rex. A man who in real life never thought of himself as a “star” and never wanted to “be a star”, the irony is not lost with this portrayal of Rex. Jovial, energetic, enthusiastic, Borgnine breathes life into Rex and the world around him. On screen for virtually the entire film, Borgnine takes us along as fellow riders on Rex’s journey, imbuing us as viewers with Rex’s enthusiasm, fire and even emotional pain. Given Borgnine’s passing and knowing this is now his final film, there are elements of the story that take on greater weight and beauty; and yes, they will bring a tear to your eye.
On the flip side, Barry Corbin delivers a delicious scene-stealing performance as Mr. Walker. Clearly relishing the role, Corbin makes you want to see more of Walker. Joining Corbin is Tony Plana. Emotionally chameleonic in his roles, here as Dr. Dominquez, he oozes evil. Wanting “incredible faces” in the film, Petridis achieves just that with his casting of not only Borgnine, Corbin and Plana, but Dale Dickey, June Squibb, Larry Manetti and even, Robert Morse.
Shot on 35mm film, cinematographer Eric Leach delivers a visual palette that is rich and warm, tonally inviting, celebrating the panoramic colors of the old west. Lighting is warm like the sun. And the western film-within-a-film sequences are superbly displayed both in texture and tone.
THE MAN WHO SHOOK THE HAND OF VICENTE FERNANDEZ - a poignant, wonderful western. What a send off for Ernest Borgnine.
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