Boogie Nights (1997)
★★★★ / ★★★★
17-year-old Eddie Adams (Mark Wahlberg) was spotted by a pornographic film director named Jack Horner (Burt Reynolds) while working as a busboy in a disco. Eddie, after running away from home, decided to work for Jack, changed his name to Dirk Diggler and instantly became an adult film star in the late 1970s. At first, everything seemed to be going well: Dirk’s well-endowed tool skyrocketed him to stardom, he made some good-natured friends (Julianne Moore, John C. Reilly, Heather Graham, Philip Seymour Hoffman), and the ideas he shared with Jack in order to make the exotic pictures they made together even better earned Dirk awards, money and recognition. But in the 1980s, everything came crashing down as he chose his pride over people that took care of him when he was at his lowest, became addicted to drugs and resulted to prostitution to finance his addiction. I was impressed with writer-director Paul Thomas Anderson’s elegant control over his material. It could easily have been sleazy because of its subject matter but I was happy he treated his subjects with utmost respect. Anderson may have highlighted his characters’ many negative traits but he made them as human and relatable as possible. His decision to underline the negative aspects of the pornographic industry not only was the driving force of the drama but it also prevented the picture from glamorizing its many lifestyles. It made the argument that the porno stars were sad, desperate and that most of them wouldn’t choose the industry if they knew how to do anything else well or if they had the means to reach for their goals. For instance, Don Cheadle’s character did not have the financial means to start his own business so he used the industry to have some sort of leverage. Details like that made me care deeply for the characters. Their careers didn’t have to be honorable but, like us, they did what they have to do in order to get by. However, I wished the movie could have at least acknowledged the role of sexually transmitted diseases in the industry. I know that the idea was not yet popular at the time but some hint of it could have added another dimension to the script. Furthermore, I found William H. Macy’s character to be one of the most fascinating of the bunch but he wasn’t fully explored. With a wife that so openly cheated on him (she had a penchant for having sex in public), we saw that he was a pushover. But what else was he? I felt like he was merely a joke, a punchline and that stood out to me because, even though others had something peculiar about them, they had layers and complexity. “Boogie Nights” surprised me in many ways because I didn’t expect it to have so much heart and intelligence. It certainly changed the way I saw pornographic material and, more importantly, the people that starred in them.
Rudo y Cursi (2008)
★★★ / ★★★★
“Rudo y Cursi” stars Gael García Bernal and Diego Luna as brothers who started off as workers in a banana plantation and, with the help of a soccer scout (Guillermo Francella), eventually became Mexico’s soccer stars. One of the things I liked most about this movie was it allowed two very different characters to start off in the same level of happiness (or unhappiness). But when they finally achieved stardom, they were rarely on that same level and that caused tension, resentment, and bitterness which ate them inside out. But what’s even more impressive is that writer and director Carlos Cuarón painted the picture in a light-hearted manner with a real sadness in its core. It was easy for me to buy the fact that Bernal and Luna were very competitive brothers because of their lingering chemistry from “Y tu mamá también.” Although their characters genuinely loved one another, they forget that one time or another because they constantly got caught up in their own problems and inner demons. Such issues were commented on by the narrator who discussed things like the similarities and differences between a mother and a uniform, passion and talent, and the labyrinthine world of fame. The way their luck and fortunes fluctuated from golden fevers to pitiful desperation engaged me throughout. This is far from a typical sports film where a lead character goes through all kinds fo hardship in life and finally gets that big break. It’s really more about the dynamics between brothers who constantly had to build themselves up and could not help but compare themselves to each other in order to determine if they were good enough. (Which kind of works as a cautionary tale.) Carlos Cuarón’s debut film impresses on many levels which, admittedly, could have been a lot stronger if it had a better sense of pacing. I was just glad that it actually had a brain despite the sport.
Velvet Goldmine (1998)
★★★ / ★★★★
I can understand why most people would dismiss this film due to its disorganized way of telling the story and featuring a lifestyle that was not (and still is not) fully accepted in society. “Velvet Goldmine” was about a journalist (Christian Bale) who was assigned to write an article about a glam rock star named Brian Slade (Jonathan Rhys-Meyers) whose stardom quickly plunged because he faked his own death. Incidentally, Bale was a fan of Slade when he was younger so the assignment was a lot more personal to him than any other projects he had before to the point where he rekindled some of that obsession he used to have for the rock star. In order to get the full picture regarding Slade’s life, Bale interviewed the people that knew Slade most: the one who discovered him (Michael Feast), his wife (Toni Collette), his manager (Eddie Izzard), and his competition/partner/lover (Ewan McGregor). I must give kudos to Todd Haynes, the director, for featuring strong performances from the four leads (Rhys-Meyers, Bale, Collette and McGregor). He told the story in such a way that each of the four had an equal share of the spotlight and really gave scintillating performances. I also liked the fact that Haynes’ message about music was different. Most pictures that tackle the meaning of music tend to argue that music is a meaningful entity. In here, the message is the antithesis: music is meaningless; music is driven by the artists’ ego and thirst for taking over or changing the world; lastly, music–or real music–should not and does not contain anything personal from the artist because its purpose is to simply entertain; to put something personal in it is to contaminate it and thus defying itself. Well, at least that’s how I interpreted the film. I found this film to be particularly cold: It did not make an effort to convince its audiences why they should care for the characters. Interestingly enough, I loved it because it embraced the feeling of the 1970’s glam rock era which consisted of revolting against the norm, being apathetic to things that should matter, and embracing the dirtiness and griminess of atypicality. For an independent film, I thought it was particularly powerful, especially when it used techniques from the film “Citizen Kane”–fusing past and present in order to truly understand the characters that have been so wrapped up in the darkness they’ve created for themselves. I also appreciated the fact that it featured the fluidity of sexuality, emotions and ideas. This is a rich film with fascinating images and ideas but it’s not particularly accessible so one should be wary on whether he or she should watch it. But if one has an open mind, this should be a pleasant surprise. This reminded me of a weaker “Hedwig and the Angry Inch” (though the two are very different films); a little bit more focus would have made this an instant favorite of mine.