Saturday, August 4, 2012

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.

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