Tuesday, August 27, 2013

Dignity in Service

Movies: The Butler

Lee Daniels' The Butler is the perfect antidote to the sentimental pat on the head to white people that 2011's The Help* was.

Whereas in The Help, a young, white woman was the heroine of the story, a black, aging man is the hero of The Butler. Whereas the lives of black women in domestic service in pre-Civil Rights Mississippi were shown through the lens of which white people were mean to them and which white people were nice to them in The Help, The Butler tells the story of a black family through its own lens. Whereas you are bashed over the head with LIFE LESSONS in The Help, the lessons of The Butler are not so simple and not so obvious.

Where The Butler succeeds is in its ability to be a gentle movie with a strong message, and to tell the black characters' stories without the use of caricature and--more importantly--without the measuring stick of "BUT WHAT WERE THE WHITE PEOPLE DOING??" that haunts so many films about race.



The Butler, based on a true story, is about the life of Cecil Gaines. Born on a cotton plantation in the 1920's, Cecil watches as his father is murdered in cold blood by one of the hotheaded white male owners of the plantation--right after that same man rapes Cecil's mother. The matriarch of the plantation takes young Cecil aside and tells him, "I'm going to teach you to be a house nigger." This is the first instance of uncomfortable, yet brutally honest cognitive dissonance in the film. On the one hand, the term "house nigger" forces you to cringe. On the other hand, this "promotion" is a godsend to young Cecil, who learns valuable skills that will carry him through life. As racist as her words are, the matriarch was doing Cecil a kind turn by bringing him into her home to serve.

As a young man, Cecil leaves the plantation and finds work in a small hotel and is mentored by an older black man who slaps him when he refers to himself as a "house nigger". This man becomes a father figure to Cecil, teaching him the value of self-respect. As time goes on, Cecil (played by Forest Whitaker) gets a job in a ritzy hotel in Washington, DC, where he captures the attention of a politician who recommends him to work as a butler in the White House. And this is where the historical events of the story take off. Cecil (like his true life counterpart, Eugene Allen), serves in the White House over the course of eight presidential administrations. He serves at a time when race and racial integration were at the forefront of Americans' minds. One drawback of the film is that there is a definite hint of Magical Negro syndrome every time the president of the United States--from Dwight D. Eisenhower (played by Robin Williams--what?) to Richard Nixon (John Cusack--WHAAAT??!) to Ronald Reagen (Alan Rickman--ah, ok. He works) asks Cecil for his opinion on a matter regarding race.

The lack of subtlety in regards to how The Butler handles race on a large scale is the biggest flaw of the film. There are definitely moments that are cringeworthy and "on the nose". But The Butler has a nice card up its sleeve--the story of Cecil's family and how they cope with the Civil Rights Movement through the years. The film shines when it focuses on the relationship between Cecil and his alcoholic wife Gloria (Oprah, who gives a powerful performance, but appears to stay the same age over three decades) and the relationship between Cecil and his rebellious older son, Louis (David Oyelowo).

Cecil and Louis' father/son dynamic is especially interesting and complicated. Louis grows up to be a Civil Rights activist, participating in lunch counter sit-ins (a FANTASTIC and horrifying scene), freedom bus rides, and the Black Panther Party. While Cecil tries to be open-minded towards his son's liberalness, Louis sneers at his father--a mere butler spending his life dedicated to serving powerful, white men. I loved this dynamic because both characters are vastly sympathetic. On the one hand, I identified strongly with Louis' need to shake things up. But as "right" and with the times Louis is, he's such a dismissive little snot to the man who gave him everything. And militancy is an unstable ideology, whereas Cecil's path of hard work grants him the ability to raise a family and rise far, far above his start as a lowly house servant.

Despite the myriad cheesy moments of The Butler, the film has a good heart and soul. I can't quite give it a 4 star review because it has some problems, but I can say that I wish there were more films like it. It's sad that in 2013 we haven't quite evolved enough as a society to have some truly complex, interesting, and perhaps challenging films about race in mainstream theatres. In my very short time on earth it seems that racism has gotten more vile in recent years (a combination of the Internet, 24 hour news cycle, and the fact that the president has dark skin). But my dad, who actually lived through the Civil Rights Movement and is a man who has allowed his heart to be opened and changed by Civil Rights issues, says "We're doing better. But we're not there yet."

3.5 out of 5 stars

*I apologize if this is a strong opinion, and the fact is that the film The Help had a wonderful, female-friendly cast, but aspects of the film really made me chafe.

Thursday, August 22, 2013

Skin Flick

Movies: Lovelace

One of the most popular and sensational films of 1972 (a great year for movies, incidentally) was a 61 minute long pornographic "comedy" about a woman whose clitoris is located in her throat. Linda Lovelace's (nee Boreman) ability to engage in the titular sex act launched her into short-lived fame. Despite her popularity, Lovelace's life was a hell. Coerced into the porn industry by her physically abusive husband, Lovelace was a symbol of the sexual liberation movement despite being a prisoner herself.

Lovelace attempts to show both sides of Linda Lovelace's life--her public persona as a sexy, bubbly young woman and her private life having the shit beaten out of her by Chuck Traynor, her terrifying husband. The film mostly succeeds, but it doesn't go far enough and comes off as white-washed for a mainstream audience.


The actors are the film's greatest strength. Amanda Seyfried gives a strong performance as the wide-eyed Lovelace, and Peter Sarsgaard (who has made a career out of playing characters at once both sexy and menacing) is perfectly cast at the terrifying Traynor, who seduces Lovelace and convinces her to marry him, only to become more and more physically and sexually violent towards her. The ensemble cast also includes Sharon Stone playing Lovelace's strict, dowdy, and unloving mother. Adam Brody shows up as Harry Reams, Linda's gentle and charming costar (from the interviews I've seen of him, Reams actually did seem to be a truly nice guy). James Franco is inexplicably cast as Hugh Hefner, which is more silly than anything else.

For a movie about the most famous porno of all time, Lovelace's main focus is on Linda and Chuck's relationship and her efforts to escape him. I liked that the movie was able to show the seediness of the porn industry while not blaming it for Lovelace's abuse. It wasn't the porn industry's fault that no one stepped in to help Lovelace--it was the culture of the early 70's; a time where sexual attitudes were becoming more liberal, but attitudes towards women's "place" were still very retro. Women were seen as the property of their husbands and men in general. Porn was a symptom of this, not the cause. So the movie manages to stay neutral on this issue of pornography while showcasing the horrors of domestic violence.

Eventually, Linda left Chuck and became a spokeswoman for the feminist anti-pornography movement. She wrote a book called Ordeal about her time in the porn business and her marriage to Traynor. Unfortunately, Lovelace only touches on this portion of her life very briefly, and she is portrayed as a dowdy victim who is expected to "atone" for her sins and prove herself to the public. This is a shame, because it glamorizes the most vulnerable time in Lovelace's life while painting her to be a pathetic victim once she actually escapes her abusive marriage.

The issue of pornography and the porn industry is a tough one, and no single filmmaker can capture the complexities of the issue. But a film that does a better job of thoroughly exploring the phenomenon of Deep Throat and its effect on the culture at the time is the excellent documentary Inside Deep Throat.

Lovelace features wonderful performances by Seyfried, Sarsgaard, and Stone. It's an interesting (and occasionally funny) movie. But if you are really curious about the history of the famous sex flick and the actors involved, I'd recommend watching Inside Deep Throat instead.

3.5 out of 5 stars

Saturday, August 17, 2013

Hat Trick

Movies: Now You See Me

(Ye be warned: thar be mild spoilers in this review)

Now You See Me, aka "that magician movie starring the guy who played Mark Zuckerberg", is a pretty bad film. But its fatal flaw is simple: it does not know what kind of movie it wants to be.

The film starts off intriguing and entertaining: four talented magicians, each with a special skill, are brought together by a mysterious fifth party. One year later, they perform a trick where they rob a bank in Paris while standing on stage in Las Vegas. As money swirls around the huge venue, and a credit union in France realizes they've been robbed of 3 million dollars, the FBI gets involved.


But as the movie continues, with Mark Ruffalo and Melanie Laurent as a pair of FBI agents tracking down the "Four Horsemen" (Jesse Eisenberg as an arrogant, young magician; Woody Harrelson as a hypnotist; Isla Fisher as a sexy escape artist; and Dave Franco as a punky pickpocket), Now You See Me gets unbearably complicated and silly.

What starts out as a heist movie takes a turn for what appears to be a film with a social justice message. The second time the Four Horsemen do their now world famous trick, they quite literally rob a rich man and give to the poor audience--an audience pre-selected to attend the show because they all lost houses, possessions, and loved ones during Hurricane Katrina.

But the social justice aspect isn't there for long, and the movie takes a sharp into "revenge film" territory: where a man who sets out to debunk the Four Horsemen is framed for a crime he didn't commit. All because he has some vague ties to another magician who might or might not have died under mysterious circumstances years before.

Does this sound as crazy as fuck to you? Well, I'm right there with you. It's not too long into the movie before you realize that the filmmakers of Now You See Me didn't have a clear vision of the kind of movie they wanted to make. So they ended up throwing everything they could against a wall to see what would stick. And what we're left with is a very messy wall.

Disappointingly, Now You See Me had a lot of promise: an initially entertaining premise, a star-studded cast, some decent laughs, etc. But as the twists and turns keep coming, the audience (well, me anyway) got more and more unamused and bored. The film ends on a final twist that is more laughable and stupid than shocking. After watching the movie, you realize it's not so much a complicated, cerebral film as it is lazy and loosey-goosey.

I spent 2 bucks to see Now You See Me, and I consider it money well spent if only for Mark Ruffalo's embarrassingly ridiculous performance as a frustrated FBI agent. But I can't recommend this movie, which tries so hard to fool the audience only to end up fooling itself.

2.5 out of 5 stars