★★ / ★★★★
A journalist (Kenneth Branagh) divorced his wife (Judy Davis) because he wanted to be with other women–women who were some type of a celebrity, like a supermodel (Charlize Theron), an actress (Melanie Griffith), or a very successful book editor (Famke Janssen). One of his main reasons for divorcing his wife was, as he claimed, he was unhappy with the way she was in bed. The insecure wife, on the other hand, met a seemingly perfect television producer (Joe Mantegna). She could not believe the fact that she had met someone who was willing to devote everything to her. She suspected there must be something wrong with him and so she waited for the relationship to go haywire. Throughout the film, the journalist became unhappier while the ex-wife’s luck turned for the better. Directed by Woody Allen, “Celebrity” was ultimately a disappointment despite its interesting subject matter. I think it is more relevant than it was more than ten years ago because of the recent surge in technology that allows us to get “closer” to our celebrities. Unfortunately, I thought the humor was too broad. Did it soley want to be a showbiz satire, a marriage drama, or a character study? It attempted to be all of the above but it didn’t work because the protagonists lacked an ounce of likability. The journalist was desperate in getting into women’s pants while the ex-wife pitied herself so much that it was impossible to root for her. Their evolution and the lessons they learned (or failed to learn) were superficial at best. Instead, I found myself focusing on the many interesting and vibrant side characters. For instance, I loved Theron’s obsession with her health as well as her outer appearance. It was interesting to see her and the journalist interact because I constantly wondered what she saw in him. As the night when on, layers were revealed as to why while some details were best remain as implications. Leonardo DiCaprio as the very spoiled young actor was great to watch as well. His arrival on screen was perfect because it was at the point where the script was starting to feel lazy. The characters had no idea what they wanted or what they wanted to say. DiCaprio’s character was invigorating to have on screen because he wanted everything but at the same time his wants lacked some sort of meaning. Even though the spoiled actor and the journalist did not get along well, they were more similar than they would like to believe. While cameos were abound such as the surprising appearance of Donald Trump, I wish the filmmakers trimmed the extra fat in order to make a leaner film with astringent wit. It had some great moments but they were followed by mindless sophomoric jabber (uncharacteristically not charming considering it’s a Woody Allen film) that quickly wore out their welcome.
Joan Rivers: A Piece of Work (2010)
★★★★ / ★★★★
Ricki Stern and Anne Sundberg spent a year with Joan Rivers to document her rollercoaster ride of a career. Joan Rivers is a comedian, but she claimed she was an actress at heart; she simply played a comedian and she knew she did it well. I saw Joan Rivers for the first time on TV when she interviewed people on the red carpet during the Oscars. There were two thoughts that ran across my mind: “Who is this hilarious woman?” and “She’s had way too many facelifts.” She knew exactly what people thought of her yet she decided to forge on like she didn’t care. It’s not that she wasn’t hurt by mean comments (especially critiques directed at her acting abilities), but being in show business was what quenched her appetite yet at the same time fueled her hunger to be relevant and reinvent herself. Despite the ups and downs of Rivers’ career in a span of one year, the directors successfully painted a well-realized picture of their subject. I had no idea that Rivers had been around since the early 1960s and had appeared on “The Tonight Show Starring Johnny Carson.” I didn’t even know she won in a reality show. But it was the small details in her life that moved me, one of which was when she expressed to the camera that one of her biggest fears was that one day, she’ll turn around and find nobody she knew well enough to ask, “Do you remember?” Despite her lavish lifestyle (and she told us bluntly that she loved living comfortably), I’m convinced she held more value to personal links and true companionship than she led us to believe. That moment swept me off my feet because I did not expect it from a comedian who made outrageous jokes about AIDS, abortion, and even handicapped individuals. I was also moved at the part when she and her grandson decided to volunteer for God’s Love We Deliver to deliver food to handicapped people who couldn’t leave their homes on Thanksgiving. At end of the day, Rivers concluded that “Life is mean.” For a woman who was seventy-five years old, working at very strange (and very late) hours, sometimes traveling in the middle of nowhere, I couldn’t help but ask how she continues to do it. I found her story inspirational because it made me think about where I want my career to go. “Joan Rivers: A Piece of Work” is full of beautiful contradictions that weren’t necessarily easy to swallow but that’s exactly what I loved about it. Ultimately, that’s what I loved about her. She’s edgy, ironic and she knew the business (and the busy-ness) of show business. People thinking of establishing a career under the scrutiny of the public eye should see this documentary. They just might think twice. Joan Rivers said she’s never seen her name without a positive adjective right before it. How about the resplendent Joan Rivers?
Being Julia (2004)
★★★ / ★★★★
Julia Lambert (played brilliantly by Annette Bening) was a great theater actress. She was so great, she could not stop acting even though she was not on strage. Most people around her saw her life as nothing but glamorous and fans craved to be around her either for the fame, money, or to advance their careers. This made her bitter and depressed; not even her husband (Jeremy Irons) was sensitive enough to realize that she was overworked and on the verge of breakdown. So when she met a significantly younger American admirer (Shaun Evans) who seemed to genuinely care for her, she decided to take a risk and allowed herself to fall in love with him. I thought the movie took its time to build the rage inside of Julia and it only really started to pay off toward its halfway point. Furthermore, the appearance of Julia’s dead mentor (Michael Gambon) was a big distraction for me, especially when the film did not establish their relationship prior. Although I have to say that the second half was very engaging because we eventually saw who the characters really were and their true intentions. Despite Julia’s sometimes tiresome histrionics, I came to understand why she was angry. Everyone believed that she was on the top of her game but at the end of the day she was the one looking at herself in the mirror and noticing her age show and health deteriorate. She did not know how to deal with the fear of becoming considered as past her prime and lacking a genuine support system did not help her increasingly desperate situation. The only true person in her life was her son (Tom Sturridge–quickly becoming one of my favorite actors) but he was always away. I was in love with the scene when he knocked on her mother’s door, found her crying, and made the decision to share something really personal with her–something that even I am not sure I can share with my parents no matter how close we are. The implications in that scene were rewarding because they were open to interpretation. That scene was special because the look and feel of that scene was a nice contrast to the scenes involving the lies and deceit of showbiz. The last few scenes impressed me because it truly encapsulated Julia’s perspective–the theater was when she felt home and and the real world was just an acting class. It was so bittersweet and I finally saw how strong she was even though she could turn on and off her tears at the drop of a hat. “Being Julia,” based on the novel “Theatre” by W. Somerset Maugham and directed by István Szabó, sometimes felt elegantly cold but it was eventually able to open up and show its warmth. It had strong performances especially by Bening and Sturridge and I wished that the two had more scenes that explored the crucial mother-son relationship.