August 26: Titanic (1943 -- Herbert Selpin & Werner Klingler)

★★

This is one of the most interesting bad movies I’ve seen.  It’s all over the place.  It has some elements of Eisenstein in it, like the scenes looking up from the engine room with people running along various walkways.  Those shots could have been lifted from the early part of Potemkin.  And though it was made in 1943, Titanic has a lot of silent movie conventions.  There are the overdone poses, like that of Sigrid as her lifeboat is lowered, and mannered gestures, like that of the telegraph operator leaving his hand lingering in the air after shaking hands with his mate for the last time.  And there are ample close-ups and melodrama as the tale unfolds.  At one point, the camera homes in on a virtuous German couple in steerage who are soon separated in the chaos but happily reunited at the film’s concluding inquest, the woman’s hair still braided and in a circle on her head.  Titanic veers radically from action to sentimentality to drama to realism, and while Selpin/Klingler wrap up a few of the story lines, we don’t ever find out what happens to some of the characters we follow.  This Titanic is a disorganized mess.

But bad as this film is, there are some elements that make it worthwhile.  More familiar with the British 1958 and Cameron 1997 versions of the Titanic story, I was surprised that Selpin/Klingler could take this story of disaster and loss and turn it into a stark, anti-capitalist statement that reminded me that the second part of “Nazi” is “sozialismus.”  Aside from the virtuous German First Officer Peterson, you don’t feel any sympathy at all for the cast of selfish, manipulative, greedy passengers in 1^st class.  They constantly conspire against each other, and in fact, it is their desire to manipulate stock prices that makes them push the ship to dangerous speeds and disaster.  When the ship sinks, this gaggle of reprobates mostly get their comeuppance.  It’s interesting to see a Titanic where you don’t care if the characters survive or not.  It's an original approach to the story.

I watched this film with Lou as one of our movie nights, and while we agreed it wasn’t very good, we both liked the short film that Kino included on the DVD about Titanic’s sister ship, Olympic.  This little promo film tells more about life on an early 20^th century cruise ship than any feature I’ve seen that’s ten times as long.   And it’s more interesting than this feature.

August 4: Magic Mike (2012 -- Steven Soderbergh)

★★★★

Magic Mike is a fun Soderbergh film firing on all cylinders. 

The strong local color here recalls that in Erin Brockovich in its specificity.  The film looks like coastal Florida from the opening shots as the camera peeps over the cab of a pick-up, looking back and forth at the passing streetscapes.  Low buildings, tile roofs, yellow light.  Magic Mike goes on to take advantage of many appropriate locales in the Tampa area.  A little, stand-alone cinderblock building houses the tawdry strip troupe, and the wall-mounted heater in Brooke’s apartment tells us all we need to know about the standard of living she can manage for herself.  The low, calm water of the Gulf figures in scenes like those of the friends sitting on the bridge and the party on the sandbar.  Magic Mike has some of the most effective art direction I’ve seen Soderbergh’s work since Erin Brockovich.  Rather than just being appropriate to the action and characters, the settings here are important to understanding the people and what they do.

There’s also the smart light and camera I like in Soderbergh.  Tampa exteriors are bathed in yellow, and interiors have effective, tinted ambient light as well as special purpose sources.  When Mike, Adam and Brooke go to an outdoor amusement to have a beer, the background detail is burned out while the foreground is slightly white at the shaded tables, just the kind of light everyone has found in their photos when they’ve taken pictures in similar circumstances.  It’s likewise bright as Mike and Adam meet for the last time at an outdoor table near the end of the film.  And the interior scenes of the strip performances are a tour de force of editing, lighting and choreography.  Gels recall those in Soderbergh’s earlier Gray’s Anatomy, though the camera here is more active than that one.  Here, we zoom in, weave, and even launch into surprising silhouettes and reverse shots. Soderbergh revisits some of the approaches he used in Gray’s Anatomy, but the technique here is sharper and faster.  And credit the choreography here with not letting the camera rest.  These guys can dance—especially Channing Tatum-- and Alison Faulk has done an impressive job of amping up tease to genuine performance.

Magic Mike also has a cast of likeable characters, all touched by the porn industry in some way.  The three men we know best are in a schematic relationship.  Thirty-year-old Mike is soon going to be too old for the stripping gig and is trying to realize his dream of going into furniture design.  He’s saved a lot of money for it, but he can’t get a loan to launch his business.  In a scene that is a microcosm of his situation, he dresses well for a female bank loan officer who is charmed by his looks but unable to give him a loan because he doesn’t have the necessary financial justifications.  Adam is Mike ten years earlier.  He’s handsome, adapts to performing quickly, and finds himself seduced by the easy money, drugs and sex available to him.  Mike watches and helps Adam, knowing well what the future holds for the debutant dancer.  On the other side of Mike, Dallas is the club owner.  The aged former stripper just wants to manage his troupe so he can continue to make money from them.  With his snakeskin boots, country accent and gawdy taste, Dallas is the most engaging bad guy in the film.  

There are also some very good performances here.  While I’ve never taken note of Channing Tatum as a performer, he anchors this film effectively.  We see him range from aping for the camera to being hurt and disappointed, with his considerable dancing skills thrown in as a bonus.  Soderbergh is often good with performers who haven’t hit their stride yet.  Likewise, Matthew McConaughey creates a Dallas that we remember long after the film.  McConaughey uses overly friendly body language and a thick southern accent to make Dallas as cheesy a character as should be running a male strip tease.  And the energy McConaughey brings to his final dance, along with his satisfactions at it, shows us the narcissistic insecurity at the heart of the character.  Dallas is the best-realized character I’ve seen McConaughey do.

Magic Mike's ending fits into a bias I notice in Soderbergh.  For his broader-audience films, he often goes for a partly sad--but mostly happy--ending.  By the end of Magic Mike, we don’t know exactly what will happen to Adam, but Mike has sacrificed to save the younger man and decided to give up stripping and enter a relationship with Brooke.  It’s an ending close to that of silent melodrama where the whore does a good dead and reforms. 

And this ending works well enough in Magic Mike.  Soderbergh has pulled together many of the elements he manages best in order to create a film that’s intelligent, has likeable characters, and is pleasing to watch.  And it takes us into the interesting world of male porn.  This film is an engaging way to spend a couple hours.

August 3: Haywire (2012 -- Steven Soderbergh)

★★★

This is not my favorite Soderbergh film.  Haywire has a lot of the Soderbergh elements I like—economical editing and storytelling; elegant lighting and camera movement; rich sets; and impressive acting from pros who’ve worked with him before (Tatum, Douglas), pros new to working with him (Fassbinder, Banderas, McGregor), and a non-professional who anchors the film (Carano).  And the intelligence I’m used to seeing in a Soderbergh film.

Haywire is also an interesting take on the international spy/action thriller, something like the James Bond or Bourne franchise.  It is spread out over a couple of European settings and several in the US, and there are many action scenes of daring do by the MMA champ Carano.   All this should add up to an excellent film.

Yet, it doesn’t.  With all of these great elements, Haywire doesn’t engage its audience.  It’s hard to sympathize with any of the characters because we don’t spend enough time with any of them to get to know or care about them. The empty center of this film is the risk that Soderbergh runs when he casts a non-pro actor as the lead—Carano does excellent stunts, but I never felt for her situation much.  The plot of the film is pretty much at the limit of what a director can expect an audience to hang on to, too.  I still don’t know why Mallory tells her backstory to the guy she kidnaps from the diner.  And if an action movie is to hold us, it needs some kind of stakes, like the life or death of the United States of America.  Haywire simply gives a mystery we don’t care much about.

Perhaps Soderbergh is just trying on the conventions of the action thriller, but in this movie, they don’t fit well.  Haywire is one beautiful sequence after another that doesn’t much go anywhere the audience is interested in going.

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August 2: And Everything Is Going Fine (2010 -- Steven Soderbergh)

★★★★★

Fourteen years after he last worked with Spalding Gray and six years after the performer’s suicide, Soderbergh created this wonderful documentary.  This is a multi-level film, and I’m glad Criterion has made it available to us.

Formally, the film is like a Gray monologue.  Soderbergh applies his considerable editing skills here (with Susan Littenberg) to link various film fragments into what reads like a 90-minute Gray performance.  The topics here are related just as they are in the other Criterion Soderbergh/Gray project, Gray’s Anatomy, with one topic leading naturally into the other.  It's an interesting formal experiment that works.

And Everything is Going Fine also follows a chronological order, starting with Gray discussing his childhood and moving on ultimately to scenes of him after his accident in Ireland.  But the key to the film--and what makes is so impressive--is the way Soderbergh sequences Gray's comments on art and on suffering/death.  As we move chronologically though his life, we hear Gray’s description of his mother and her suicide, we hear of his therapy and we hear about his art.  Gray repeatedly comes back to the point that his art is an effort to create order and his own identity out of chaos, even saying he starts acting and then telling stories because his life is otherwise chaos.  We hear him call himself a chaos man who comes into being only through the art of storytelling.  Ultimately, a completely random accident in Ireland leaves Gray crippled, and the film suggests this last lash by Chaos was as much as Gray could bear; Gray's suicide shortly afterwards was the triumph of Chaos, the loss of art, order and self.  The beauty of And Everything is Going Fine is that the filmmaker, and those of us who see the film, can have some insight into the psychic tension that Gray grew up with, lived with, and created art to cope with. 

And Everything is Going Fine works on many levels, and Soderbergh brings both his cinematic skill and his intellect to bear on Gray.  This little film, unique among the Soderbergh work I’ve seen, is one of my favorites by this director. 

August 1: Traffic (2000 -- Steven Soderbergh)

★★★★

Traffic came out the same year as Erin Brockovich, but its style is the anti-Erin alternative.  Erin Brockovich uses enhanced mimetic visuals and a transparent Hollywood cinematic style, but Traffic calls attention to its filmic elements in every frame.  It’s as though Soderbergh set out to make both a Bazinian and a Brechtian film in the same year.

From its opening, Traffic insistently calls attention to its cinematic elements.  An impossible yellow tint fills the wobbly, handheld frame as Javier and Manolo intercept a drug shipment in the desert of Tijuana, and the film goes on to alternate between three tints: yellow in Mexico; blue in the chilly corridors of East Coast authority and the homes of the authorities; and a rich, natural color in California.  This tinting suggests the lighting that Soderbergh had recently used in Grey’s Anatomy, but the highlights in the frame here are often burned out while the camera varies between steady and unsteady.  Also, occasional bravura blocking and editing segues from one plot line to the other, as when the camera turns from following Helena’s car to pick up Javier as he walks into bar on the same street.  Soderbergh uses no such attention-getting flourishes in Erin Brockovich.

There’s a clear purpose behind some of these meta-cinematic elements.  While Erin Brockovich tells the story of one woman’s struggle and follows this single character mimetically through its length, the subject in Traffic is much more general: drug use and its effects.  Traffic is a film of ideas, an analysis of drugs in the US, than it is the story of an individual, so the distancing that Soderbergh’s technique creates is appropriate here in a way it wouldn’t have been in the Brockovich story.  In addition to the distancing, the overt techniques help the film communicate better.  Traffic looks at drugs in three realms – Mexican distribution, the US government’s war on drugs, and American smugglers who distribute it – and Soderbergh color-codes each of these areas to help the audience keep the stories separate and reasonably clear.  And the hand-held camera gives a feeling of immediacy. 

Soderbergh also does an impressive job of handling a sprawling cast of characters to give breadth to his analysis of his subject.  Like Altman or PT Anderson or even Jean Renoir, Soderbergh finds depth, complexity, tragedy and smiles as his many characters deal with their respective roles in the drug trade.  Some characters are destroyed by their contact with drugs (Manolo, Salazar, Ray), some are damaged (Erika, Ana, Robert), and some flourish (Javier, Helena, Montel), but whatever their role or outcome, they’re all connected.  The achievement of this fine film is the range and detail of its description of its subject.

And all the while, many of the things I like most about Soderbergh are on display here.  He once again gets excellent performances out of his actors.  Michael Douglas plays the naïve politician/out-of-touch father well, and Erika Christensen all but outdoes him as the daughter who is slipping into a drug habit.  Catherine Zeta_Jones gives a complex performance that ranges from helplessness to confidence.  And Benicio del Toro dominates the screen as powerful giant who nonetheless seems vulnerable whenever he’s in front of us.  Seeing his performance here, it’s no surprise Soderbergh wanted to work with him again on Che.  And there’s a return role for Albert Finney here, too, albeit a minor one. 

Soderbergh’s fluidity and economy are also on display in Traffic.  From his rhythmic editing to the smoothness (or roughness) of his camera movement, Soderbergh continually engages viewers in the film.  For the most part, Soderbergh’s economical editing keep the film moving quickly.  In one POV shot, Erika sees an exit sign at a park, and a couple of shots later, we see her running down a small road.  At another point, Javier and Manolo are tasked with bringing in Francisco.  We soon see Javier walking into a gay bar where we find Francisco drinking, and after that, we find Javier and Manolo delivering a bound Francisco to Salazar.  Even Salazar asks how they accomplished the task that quickly, perhaps a wink at what the audience is thinking.  But Soderbergh can use such editing economy well to give us the facts we need without dwelling on  too much detail that slows the film down.

That said, there are a few plot points that suffer from too-economic editing.  I’m still unclear on how Manolo is betrayed, and I still don’t understand how he came to be handcuffed in the car with Javier.  I need a little more information there.  And unrelated to economy, I find the story a little more upbeat that I expected.  The bad guys are punished here, and there’s a faint glow of redemption on the horizon for the Wakefields.  Tijuana gets its ball field, Helena has a much better idea of how to live, and Montel continues his fight against the drug trade.  While not exactly a happy ending, the conclusion of Traffic is much happier than I might have expected.

But those small quibbles aside, I thoroughly enjoyed this film.  And on the Criterion blu-ray release, there are some excellent extras on the technical side of how it was made.