Last Ten Films: Playing The Part

The Duke Of Burgundy

The Duke Of Burgundy

 

My last ten films seen (in chronological order, between October 26 and November 26, 2015).

The Search For General Tso (Cheney, 2014) 7/10
Anomalisa (Kaufman/Johnson, 2015) 9/10
The Assassin (Hou, 2015) 7/10
The Decline of Western Civilization (Spheeris, 1981) 5/10
Room (Abrahamson, 2015) 8/10
The Duke Of Burgundy (Strickland, 2014) 10/10
Brooklyn (Crowley, 2015) 7/10
The Conversation* (Coppola, 1974) 10/10
Best In Show* (Guest, 2000) 9/10
White God (Mundruczó, 2014) 7/10

(*At least my second viewing)

Peter Strickland hasn’t made a safe follow-up to Berberian Sound Studio; if anything, The Duke of Burgundy is even further out there, paying intricate homage to not one, but two subterranean genres. It reprises the previous film’s Giallo fixation, and pours over it a soupcon of classy sexploitation as its two lead characters are involved in a lesbian love affair. Cynthia (Sidse Babett Knudsen), a wealthy, middle-aged lepidopterist and Evelyne (Chiara D’Anna), her younger housemaid, initially appear to have a working relationship with master-and-servant undertones; within the first fifteen minutes, those undertones become explicitly sexual overtones.

However, the film is not just a kinky parade of verbal abuse, face-sitting, being tied and locked up and other unmentionables alluded to behind closed doors; it’s also a profound, intriguing, complicated love story. While Cynthia plays the master role, it’s increasingly apparent that Evelyne is the person leading the whole pas de deux, dictating much of the action, feeding Cynthia many of her lines. Meanwhile, Cynthia feels less and less comfortable in her role as she falls deeper in love. Strickland parses this dynamic carefully via interactions between the two women that often ask what it means for a lover to play or even live up to her role. The slightest shift, the smallest change in routine or crack in a façade can bring a significant, occasionally devastating result.

The Duke of Burgundy is a both an extreme visual and aural feast, from its deliberately lovingly retro opening credits (greatly enhanced, like the rest of the film, by a beguiling psych-folk score from the band Cat’s Eye) to its stunning lighting and cinematography (watch out for Evelyne’s eyes as she repeatedly looks into the microscope) to its overall period design, which heavily suggests late ‘60s/early ‘70s without ever definitively pinpointing it. I could also go on about the Stan Brakhage-like editing, the rich butterfly motifs, the many scenes where the narrative seems to pause and temporarily fade away as if dangerously entering a dream state. Knudsen is also flat-out brilliant in expressing the wide chasm between Cynthia’s assumed role and her actual self. Although not for everyone, Strickland has made a daring, stimulating, one-of-a-kind, as filling as a seven-layer-cake confection that affects the senses in a way only film as an medium can—that he did it with an all-female cast (when’s the last time you saw a film that had one?) is the extra icing on top.

Room

Room

 

I’ll write about Anomalisa in more depth once it’s released nationally in January (and I have a chance to see it again), but I suspect cineaste buzz regarding Charlie Kaufman’s foray into stop-motion animation (co-directed with Duke Johnson) will be off the charts come then—it’s as very much its own thing as Synecdoche, New York (or for that matter, Her) was, and I can’t imagine how Paramount will market it. As for other new titles, Room excels mostly because of Brie Larson’s performance, which will surely nab her the Oscar nomination she deserved two years ago for Short Term 12. I’d tighten up the second half and nix Jacob Tremblay’s so-occasional-it’s-pointless annoying voiceover, but this might be the most challenging film (subject matter-wise) to win the audience award at Toronto. Brooklyn also benefits from a solid, film-carrying lead performance; I hadn’t really noticed Saoirse Ronan in anything since Atonement (never saw Hanna), and here she renders what could’ve been another middle-of-the-road prestige indie quite watchable (Emory Cohen also comes into his own as her affable beau.)

If I were rating The Assassin on technique and style alone, it would get a higher mark. The narrative begins and ends strongly but sags in the middle—a problem I’ve often had with Hou’s work (in particular, his historical epics). But if you have a chance to see it on a big screen, by all means go. On that note, I think I might’ve gotten a little more out of White God had I seen it in a theatre, especially for the film’s already-famous wide shots of dogs running through Budapest’s streets. Sort of a gloss on The Birds but told from both perspectives, it’s interesting in how it shows/contrasts processes of learned behavior for both canines and humans. However, I can only recommend it with the caveat that it does contain many scenes of animal cruelty—all humanely staged, as the credits take great pains to point out, but I couldn’t sit through them again. Although far from the best new doc I’ve seen this year, I have no qualms recommending The Search For General Tso, a thoughtful, fizzy think-piece on Chinese-American food and the secret history behind the titular, seemingly omnipresent take-out staple.

As for older titles: Best In Show remains the funniest Guest-related mockumentary, though not the one with the most heart (or the one with the most soul)… The Decline of Western Civilization has value as a cultural artifact, a decent record of Los Angeles punk circa-1980, but the scene itself simply isn’t as intriguing or as good as its New York/London progenitors. I have higher expectations for the sequel (AKA The Metal Years), currently sitting in my DVR queue… I have yet to watch The Godfather Part II (someday, I promise), but I’ll bet The Conversation is Coppola’s best work, made at a smaller scale he’s tried to recapture in recent years and probably never will post-Apocalypse Now. A big name star (Gene Hackman) playing a rather prudish (but brilliant) character, a crisis of conscience, intricate sound design and camera work, a plot twist that remains startling 15+ years since the last time I saw it: is there, or could there possibly be any modern analogue to all of this?

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