At the Movies Unpredictable: Two movies rise above
formula
By JOSEPH CUNNEEN
If youre weary of film
violence and pretentious pornography, try out Spring Foward, a
low-budget film with an Academy Award-worthy performance by Ned Beatty and
another superlative acting job by Liev Schrieber, and find out if youre
ready to go cold turkey on conventional Hollywood narrative, jazzed up climaxes
and easy conclusions.
Spring Foward is about two men in the New England
Parks Department, an unlikely team who get to know and like each other during
the course of a year. Murph (Beatty) is a shrewd, cheerful, non-judgmental man
who has been married 45 years and is about to retire. Paul (Schrieber) tells
Murph he has just spent 18 months in jail for armed robbery, and combines
expressions of unworthiness with brief quotations from New Age texts he has
been reading. Murph, upset by Pauls frequent recourse to foul language,
tells his young colleague that self-condemnation can be a kind of
self-pity.
The movie is essentially a series of conversations between the two
over the seasons -- often sly and semi-humorous, never didactic -- punctuated
by brief codas showing everyday outdoor activities -- burning autumn leaves,
kids playing street hockey.
Written and directed by playwright Tom Gilroy, Spring
Foward has a sense of development but is intentionally slow-paced. The
days are random, but we believe in the growing fondness between Murph and Paul.
When a young woman schoolteacher (Peri Gilpin), encountered by chance, gives
Paul a puppy and encourages him to phone her, Murph obligingly disappears.
Were so used to standard storytelling that were half disappointed
we never see her again. Spring Forward isnt out to solve
Pauls loneliness, however. Instead, it demonstrates the bond between its
two main characters, and a final sequence in which Paul deals with a battered
wife suggests that Murphs mentoring has had effect.
The anguish underneath Murphs easy friendliness is related
to his gay son, who is dying. In keeping with the structure of the movie, we
never meet him (or his mother). Spring Fowards strongest
scene takes place in front of a funeral parlor during the wake for the young
man; Paul listens in silence to Murphs remembrance of going to Mass with
his 13-year-old son and becoming embarrassed when the boy leans on his
shoulder. The movie doesnt stop to preach, but its clear that Murph
never heard Christs healing message.
If realistic minimalism may restrict
the audience for Spring Forward, Bounce falls into a
formulaic romanticism designed to expand it. The opening scenes at
Chicagos OHare airport lead to a sudden decision by self-centered
advertising executive Buddy Amaral (Ben Affleck) to give up his plane ticket to
Greg Janello, a young writer (Tony Goldwyn) eager to get back to his family in
Los Angeles. (There is no special generosity behind this gesture -- it merely
leaves Buddy free for a one-night stand with a Dallas businesswoman.) The plane
crashes, Greg is among the more than 200 killed, and Buddys guilt-driven
drinking brings him to a rehab center for recovering alcoholics. The subject is
too serious for comedy, and the ensuing romance -- between Buddy and
Gregs widow, Abby (Gwyneth Paltrow) -- seems completely programmed.
Paltrows acting shows considerable nuance, not only in the
moment when she learns of her husbands death but in disclosing the
complex emotions of a widow who finds herself both delighted and guilty over
her growing interest in Buddy. Director/writer Don Roos makes the yuppie
ambiance of the advertising agency appropriately cutthroat, but is a lot less
successful in convincing us that Buddy himself, who calls himself a
people person, has genuinely changed. In the final analysis, the
predictability of the script and the excessive wholesomeness of Abbys two
little boys sink the whole project.
We are asked to get misty-eyed about another contemporary couple
having a problem about making a serious commitment, but the absence of
chemistry between Affleck and Paltrow makes it hard to care.
In contrast, the widely heralded
Crouching Tiger, Hidden Dragon is the real thing: a movie of often
enchanting escapism, an exhibition of romantic excess that seems an appropriate
accompaniment to scenes of flying swordplay. Suspension of disbelief is
effortless -- you always knew you were weightless.
Director Ang Lee wittily summarizes his new movie as Bruce
Lee meets Jane Austen -- reminding us of the speed of a Hong Kong action
film and his earlier success with Sense and Sensibility.
Sony Pictures Classics plans to have Crouching Tiger
in 300 theaters by Jan. 12, betting that it will go on to be an international
hit. It was made in China in the Mandarin language, and though subtitles have
been the death of mass appeal for years, Im betting it wont be much
of a handicap this time. Though there is a complex plot, the movies
appeal doesnt depend on language.
We are in an unspecified past, and a cry goes up in a large house,
Master Li is here. Li Mu Bai (Chow Yun Fat) is seen, carrying a
sword, Green Destiny, which is as great as Excalibur. The legendary
sword-fighter hands over his weapon to Yu Shu Lien (Michelle Yeoh), the
wonderfully expressive woman warrior for whom he has long felt an unexpressed
love. Shu Lien hastens to Beijing, first seen in an amazing panoramic shot, to
place Green Destiny in safekeeping. Unfortunately, it is stolen almost
immediately, and we are treated to a moonlit display of the skill of martial
arts choreographer Yuen Woo-Ping (The Matrix) as Shu Lien runs up
walls and flies across rooftops in pursuit of the thief Jade Fox (Cheng
Pei-Pei), who had killed Mu Bais master before the movie began.
At Beijing we also meet Jen (Zhang Ziyi), the self-absorbed young
daughter of the provincial governor, who wants to avoid an arranged marriage
and is entranced by the adventurous and independent life that Shu Lien
represents. When the wagon train in which Jen is riding is attacked by bandits,
Lo (Chang Chen), their dreadlocked leader, steals her comb, which impels Jen to
mount a horse and pursue him through the desert. Their subsequent sword fight
comes to suggest elaborate sexual foreplay. Lo wants Jen to stay with him, but
she is torn between her attraction to this exciting figure and her feminist
impulses for independence.
The gorgeous sets and cello solos bathe the movies complex
plot with a sense of extravagance that combines humor and melancholy. The
movies epic materials draw on ancient Chinese traditions and all the
clichés of action films with a wonderful combination of respect and easy
humor. We are in a timeless past.
Unfortunately the dialogue, which was a work of tireless
international collaboration, often seems flat in its English subtitles. But it
hardly seems to matter. Even if Crouching Tiger, Hidden Dragon is
not a great film, it is easily the most romantic vehicle to reach the screen in
years.
Yeoh makes Shu Lien a three-dimensional character worthy of the
greatest hero. The unspoken dedication and resolve in her eyes are as memorable
as the final fight between Mu Bai and Jen that is poetically played out on
swaying treetops.
Joseph Cunneen is NCRs regular movie reviewer. His
e-mail address is SCunn24219@aol.com
National Catholic Reporter, December 22,
2000
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