Directed by Todd Phillips (The Hangover (2011)), Joker is a latest, much-hyped movie starring Joaquin Phoenix (The Master (2012)) in the titular role of Arthur Fleck or Joker, a stand-up comedian fallen on hard times, who resorts to violence in Gotham City to avenge wrongs allegedly committed against him. Being supported by no other than Robert De Niro (a role reversal from The King of Comedy (1983)), Joaquin Phoenix gives the performance in Joker than can only be described as manically jaw-dropping in its brilliance. The character insight and portrayal are also bold, vivid, without holding anything back, as the film tries to explore the origins of Arthur’s homicidal tendencies through his early history and its revelations. However, unfortunately, if we then shift our attention to anything that is not Phoenix or the character study, we can see a number of problems in the film, including the inability to suspend disbelief regarding major plot developments, the sheer predictability of the plot, and the imbalance in the spotlight given to the minor characters vis-a-vis the main one. Joker is a kind of a film that is made up solely out of one character study and cannot show anything for itself apart from its character study and the brilliant performance. If Joaquin Phoenix is not there, there is no film (thankfully, Phoenix is virtually in every shot). Why should that be a problem? Building a film around a character study is one thing, but having a “film” that is nothing but a very “self-important” character study is something completely different (because, in this case, the film seems more like a shameful star-vehicle). There is no Joker, without the Joker, it is true, but when there is nothing but Joker and everything else (not much) in the film is either very awkward, very predictable, very questionable or very puzzling, then there is simply no great film. Continue reading ““Joker” Review”
The Age of Innocence (1993)
Martin Scorsese once said that “The Age of Innocence” was the most violent film he had ever made. He was undoubtedly referring to the emotional torrents in the film, and, even though the film does not comes off as this totally perfect and touching romance, it still has many things to recommend it. Adapted from novel by Edith Wharton, the film pictures the 19th century New York’s delicate high society where manners and appearances take prime considerations. In the midst of it, lawyer Newland Archer (Daniel Day-Lewis) falls under the spell of the Europeanised and “exotic” Madame Olenska (Michelle Pfeiffer), finding himself in a love triangle, because he is soon to be married to the society’s belle, May Welland (Winona Ryder). Violent passions raging within the high-fenced societal constraints, almost tearing apart the delicate rules of order and innocence, is the film’s main theme.
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“This is not the sort of film you “like” or “don’t like”. It’s a film that you experience – and then live with” (Matt Zoller Seitz).
“…wandering here over the desolate mountains – what an absurd situation!…I knew well, of course, that the greatest sin against God was despair; but the silence of God was something I could not fathom” (Rodrigues [Endo: 90]).
Martin Scorsese’s 28-years’ “passion” project culminated in the film “Silence“, based on the acclaimed novel by Shusaku Endo. The film is about two 17th century Portuguese Catholic priests, Father Rodrigues (Andrew Garfield) and Father Garupe (Adam Driver) who decide to travel to Japan in search of their former mentor, Father Ferreira (Liam Neeson), who, most believe, betrayed his holy cause in the foreign land. Touching delicate moral and religious issues, the film is powerful both in its vision and in its message, achieving its desired cinematographic goal to awe, thanks to Scorsese’s dedicated and masterful direction, breath-taking cinematography and inspiring original material. Although the plot is uncomplicated and could even be considered “thin”, underneath every action and thought of the main character lies (and could be sensed) a myriad of contradictory emotions; culturally-divisive inner turmoil; and dormant causes for the later spiritual/religious re-awakening.
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The rumours about Martin Scorsese’s “Silence” have been circulating for a long time now, especially regarding the forthcoming Academy Awards. On 29 November, his historic film about a Jesuit missionary’s persecution in the 17th century Japan premiered at the Vatican. Personally for me, the presence of Andrew Garfield, who is a good actor, will be distracting in the movie because of all the associations I have with him in the most diverse films, from comical “The Amazing Spider-Man“(2012) to modern “The Social Network” (2010)…How to shed these?
The Departed (2006)
‘When I was your age they would say we can become cops, or criminals. Today, what I’m saying to you is this: when you’re facing a loaded gun, what’s the difference?’ (Frank Costello)
Martin Scorsese’s crime thriller ‘The Departed’, winner of an Academy Award for Best Picture in 2006, is considered to be the director’s finest take on the mob theme since ‘Goodfellas’ (1990) (intermittently he also directed ‘Casino’ (1995) and ‘Gangs of New York’ (2002)). With many great actors involved in this movie, and with such a meticulously constructed script, this is no wonder. ‘The Departed’ is set in the south of Boston during the time when the police wages their war against the Irish-American criminal syndicate. The film starts off with young Colin Sullivan (Matt Damon) befriending the untouchable lord of crime, Frank Costello (Jack Nicholson). Years later, there emerge two cops: one – Colin Sullivan, only too ready to infiltrate the state police as an informer for Frank Costello, and another Billy Costigan (Leonardo DiCaprio), a guy who grew up in a criminal environment, who becomes a gang member working for Costello, while at the same time working as a undercover cop. When both the state police and the mob begin to suspect that there is an informer within their circle working for the other side, both Sullivan and Costigan must race against time to uncover the identity of another to save their lives.
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