Intermittent narration by none other than the titular now-public figure herself both reminds us this is a real live person and assures us of her survival. Her story in her own words is empowering without reducing it to a sensationalized “ripped from the headlines” dramatization. After so much time in forced isolation Ms. Smart is voluntarily coming forward and speaking out. We owe it to her to listen.
It’s a beautiful thing to watch someone in their element, i.e. the shared enjoyment—even between strangers—of someone’s creativity channeled into a well-crafted project. The most complex humor seems effortless, which it may be in that moment, but is resultant of much practice. If a plot is strong enough to withstand a few deviations from its script, an actor with true improv ability will elevate the believability of his character by using natural true-to-life spontaneity to generate chemistry with his costars. This quick-on-their-feet cast collectively sets the essential stage that allows its lead to shine in this hilarious case of mistaken identity.
Despite the French title being a book around which one of the main stories is centered, all the meta occurs outside the film; American critics have absolutely no idea what it’s about, which is precisely the plot! The snarkiness that runs throughout is the symptom of a larger problem. It’s easy to give advice about a particular situation but why not follow it yourself? Likely because you hear—yes, someone is talking, blah, blah, blah—but you don’t take the time to listen to what is—or isn’t—being said. I find it ironic that some people describe the script as “too wordy.” Everyone’s talking but never really saying what they mean or how they feel. Moreover, no one is paying any attention to what’s not being said: the eye roll, the shoulder slump, the sigh, the deliberate nudge given to a supposed stranger. Yet they all desperately want to be heard. Don’t we all? In an era of information overload, the best way to know someone is to see them—not merely look at them through a media lens; to watch them in their element. Try it. You’ll be surprised. The characters certainly were.
The Western genre, a long-standing movie staple, is characterized by a rough-around-the-edges hero, who musters his steely courage in order to exact vengeance. There’s always a small but hardy village standing tough in the middle of a harsh and desolate landscape. Despite its modern context, this movie does not disappoint; especially since, unlike traditional Westerns, the protagonists have realistic flaws. The stakes are high as two brothers, a divorcee and an ex-con start robbing banks out of desperation to save their family’s dying Texas ranch. Not far behind are a couple of old pros, a ranger and his partner assigned to what was expected to be a small time offense. As the lawbreaking escalates, everyone involved quickly realizes their lives are on the line.
Loyalty is tricky; eventually, everyone must choose between the bonds of family and their commitment to guarded secrets, whether fledgling, dark, or just plain odd. Though everyone wants to preserve their image, they need someone to come and pull the threads that are already unraveling. And sometimes that person, who has the most for which they should feel ashamed, turns out to be the only one who understands the freedom of truth.
The title* of a book by (then still) wannabe journalist, Jay Bahadur, who planned to write an exposé based on a land he grew to love almost as much as his own. Most coming-of-age stories center around a young man’s sexual encounter with a seemingly exotic native from the country to which he has either been forced to travel or to where he escapes from stifling responsibilities. This film depicts a naively brave visit to a place few journalists dared to go at the time. *“Deadly Waters” in UK/ Australia
Part of its charm is how the casting in no way caters to Hollywood’s distorted racial sensibilities by either rewriting the story to make Jay’s parents’ mixed-race marriage a Caucasian union or by hiring an unconvincing vaguely ethnic actor, who bears no resemblance to real-life, Jay Bahadur. Rather, the family dynamic is believable but casually presented as fact since it has no bearing on the plot. Another component of its charm is in capturing affection, both in actors’ natural chemistry and characters’ scripted interaction. Pay close attention, filmmakers; this is how it’s done. That it intrinsically avoids heavy-handed themes, canned/ preachy dialogue, contrived metaphors and overblown juxtapositions makes this film feel like a blast of fresh air on a steamy day in the desert.
I would be remiss to leave out any mention of countless profanities and blatant drug use that makes this unsuitable for classroom viewing and discussion. However, where home viewing is concerned, realism is lost the moment the camera flinches. Moreover, the goal is sympathy and consideration rather than pity, and certainly not stereotypes. To that end, many striking parallels can be made drawn between African Pirates and North American rappers. At the end of the day, Human Beings are more like than different, which should make international diplomatic relations less convoluted than they tend to be.
Mr. Bahadur returned home right before cargo ship, MV Maersk Alabama was taken hostage by the pirates about whom he wrote. This incident stimulated interest in his book, which took longer than expected to get published. But people soon realized his research challenged inaccurate perceptions about the pirates and their motives. Incidentally, trivia fans will appreciate how movie Jay’s host-turned-friend, who guides him through Somalia is the same actor, who portrayed the lead pirate of the aforementioned hijacking as portrayed in the 2013 movie “Captain Phillips.”
I liked this movie upon first viewing and have re-watched it since. I should clarify: the original version; while Kate Winslet’s talent is undeniable, remaking a classic film in color serves no purpose. I would, however, be interested in seeing this reinterpreted in a modern context as the themes (e.g. permissive parenting and familial loyalty) are still relevant and need revisiting. History repeats itself, especially when Society fails to pay attention to former generations when they tried to warn us. Some viewers will automatically assume an old movie—particularly one in black and white—is outdated. But its archetypical style is precisely what will induce the connotations necessary to see the film through, such as not being in a hurry to get to the action or the assurance that it won’t rely too heavily upon sequencing gimmicks to explain background information. Ultimately, its enduring legacy can be attributed to superior filmmaking, which includes everything from acting to editing.
I had the pleasure of watching an advance screening of this pearl at a film festival. Afterwards, a local musician spoke about the making of it. Deep in the Ozarks, lies a population—like a country all its own—sprawled out among the craggy terrain. Fiercely protective of their own, it took years to earn the trust of the community in order to craft a novel based on their way of life.
Most of the supporting cast and extras are locals, and the homes and clothing are indigenous to the area. Lead actress, Jennifer Lawrence (virtually unknown at the time of its release) had to learn to hunt & skin squirrels, to chop firewood and to fight. Her character must find some evidence of her meth cook father, for whom there is an arrest warrant. He’s missing—either in hiding or dead—but “like a dog digging after a Winter’s bone,” as the old Appalachian expression goes, she must find some enough proof to satisfy the authoritys, who are about to seize her family home where she takes care of her ailing mother and two younger siblings.
For once a cooking movie that’s not solely about an underdog (either a chef or a restaurant) pitted against some big bad meanies! When an Indian family moves to France after a series of misfortunes and are pleasantly surprised to learn about property for sale that includes an abandoned restaurant, they open a family-style diner that serves all their favorites from home. Salt-of-the Earth, Papa is a thorn in the side of food snob, Madame Mallory when he opens right across the street from her Michelin-starred fine dining establishment. The two couldn’t be more opposite; they also couldn’t be more passionate about food. Thoughtful consideration about pride in one’s craftsmanship and how food is more than just physically nourishing.
Based on the autobiographical writings of author, Sherman Alexie, this film is the first of its kind: was written, directed and co-produced by Native American Indians. True to the spirit of Native culture, a road trip through White country by two Indians proves to be a tender blend of humor and pathos. As only a true Native can, both the premise and the execution of the story embody what it means to be Indian in Modern America.