#72 (Holy Motors) and #73 (Oz the Great and Powerful) not so much

This weekend was another great weekend. Last weekend it was live music with friends. This weekend it was movies with friends.

Friday night I went to the Portland Museum of Art with my buddy Chris and met his friend Todd (who seemed very familiar only to find out that he works at Bull Moose and I've probably bought many DVDs and CDs from him). PMA was showing the French film "Holy Motors" (thanks in part to SPACE Gallery) which was on many critics Top Lists of 2012. I certainly do not disagree that it's one of the most amazing films I've seen the past year, but it's also the most baffling, confusing and I'm quite sure insightful, but as I'm still thinking about it even now, I am still wondering exactly what I actually watched, and I saw it on Friday night. And I've tried to do my research, but no one has attempted to try to explain the movie, least of all the director. To quote the Washington Post I read that seemed to be the most accurate description of the film, Holy Motors is "an electrifying, confounding, what-the-hell-just-happened exercise in unbounded imagination, unapologetic theatricality, bravura acting and head-over-heels movie-love. Here, finally, was a film willing to take the kind of aesthetic risks of which we see all too few, even at festivals nominally devoted to discovery and bold reinvention."

Directed by Leos Carax (a famed French filmmaker) who's found a muse in French actor Denis Lavant, whom I've only seen in this film but can tell he is quite an actor. His range is unbelievable in this film where he has approximately 11 different scenes as "different" characters.

So, here's the "plot"----- Monsieur Oscar is leaving a home (which after discussing with my friends over drinks later, we do not believe was his actual home where is real family lives, but rather just another "appointment" more on that in a bit) and he heads into a limo, driven by a woman named Celine (Edith Scob) who seems to be the person he most trusts and confides in. They seem to have a mutual respect, if nothing else, something you might not get from every day bosses and workers.
After getting picked up, Oscar begins disguising himself and transforming into an old/elderly woman. He is soon let out of the limo where he begs and panhandles on the street for about 15 minutes. This becomes the first of what is going to apparently many appointments which will fill Oscar's entire day (and perhaps has filled many days). He seems to be an actor that is paid (?) to enter people's pre-existing narratives to which he plays some kind of integral role in.
From his first appointment, he travels to a movie studio where he proceeds to play out a motion-capture scene(s) (of fighting and simulating sex) in an animated movie about dragon-esque creatures. Then, he goes on to play a madman/monster, stomping through the Paris sewers, popping out through a manhole and continuing his stomping, parading through an apparently famous cemetery where historical figures have been laid to rest (that I did learn in my research). He kidnaps a supermodel played by Eva Mendes (thank you for finally playing a role that I can stand behind, since she doesn't speak at all, only sings at the very end of). He ends up dressing her in a burka (which I'm sure is supposed to be symbolic of beauty and our desire to showcase ourselves, sexually) and undressing exposing himself to her and sleep on her lap.
Among the other appointments, Oscar ends up playing a dying uncle to another actress playing the niece. When their dialogue is over, Oscar casually gets up from the bed (after taking his last breath) and excusing himself for another appointment. In another appointment, he meets up with another actress, played by Kylie Minogue. The scene quickly becomes a scene from a musical. Really? Although I think my favorite part of the entire film is the "interlude" during which Oscar plays an accordion along with an entire band through the streets of Paris. That is truly magnificent.
He ends his day going back "home" only for the audience to realize his "home" is with monkeys. What the Fuck?! Truly a laugh out loud moment in the film. The bizarre moments force you to laugh out loud as you try to figure out what the hell each scene is supposed to symbolize or what exactly is the metaphor Carax is going for. I will certainly spend a few more hours trying to figure it out, but I almost want somebody else to figure it out for me...but I somehow suspect that Carax created this film for several reasons, one of which being that we should be allowed to interpret each individual thing on our own, thus creating our own meaning to the entire thing.
"Tragedy, romance, thrills, melodrama, spectacle -- all exist in a production that pays homage to disappearing forms, not to mention the nearly obsolescent notion of objective reality itself."
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Saturday I spent the entire day in my final Graduate course in Gorham. I am finishing up my Master's Degree in Teaching and Learning. My focus this final semester is working on an Action Research project that will look deeper into behavior and the home-school connection with students and parents.

Then, I went to a Pirates game with my father, since I've only been to one this year. It's always a good time with him, as we catch up on life and enjoy the sport that brought us together to begin with.

Sunday I spent with wonderful company. We walked from Pine Point in Scarborough all the way to the Pier in Old Orchard Beach, had some lunch/dinner (linner? or dunch?) and then walked back before heading the the movies. All in all, we walked about 5 miles. And I was tired and sore!
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"Oz the Great and Powerful"
Starring James Franco, Mila Kunis, Rachel Weisz and Michelle Williams
Directed by Sam Raimi

To say that "Oz" was a disappointment would be quite an understatement. Perhaps it is because I've been looking forward to it since seeing previews for it around Christmas time (I believe). Perhaps it's because I thought the land of Oz would look great, beautiful, and wonderful with the newest technology (and quite honestly, the scenery does not disappoint, the colors and everything look amazing, but unfortunately that's the only thing this film has going for it, and graphics cannot carry such a film with a great "original" story line with many themes that simply get lost now among the drivel. And perhaps it fails because Sam Raimi seems to take good things and taint them (hello, "Spiderman" trilogy which became an EMO-suckfest!) Since the "Evil Dead" trilogy I've only enjoyed "Drag Me to Hell" and that was simply because of its embrace of the campiness.

So, where does "the Great and Powerful" go wrong? Let's start with James Franco (whom I usually like for his film choices, but seems to be making less and less good choices lately...anyone see "Your Highness?" Didn't think so!) He is severely miscast in the lead role as the young man who becomes the wizard behind the curtain in the land of Oz. And he plays through the entire film with a shit-eating grin on his face as if to tell us all that he doesn't give a shit about his performance. (Maybe he was high during filming.). He over-acts even worse than Jim Carrey in his early films. And it just starts to piss you off as you watch the film because you feel cheated. His performance here seems like a giant middle finger to the audience. You feel like the story is getting cheated, because after waiting 70+ years for a prequel to the phenomenal 1939 original "Oz" you end up with this.

The writing is terrible as well. Nobody sounds like they actually care. Nobody sounds convinced of themselves, which leads to them not sounding convincing to the audience. Here's a film that fails on almost every level. And it's a shame because it had potential. The previews were promising. Zach Braff's voiced character of Finley, the servant monkey, is a bit of a savior. But, even Michelle Williams as the "Good Witch" is lame. She's a sitting duck in a bad story. And poor Mila Kunis as the Wicked Witch who turns green with envy (?) and hatred. She will never be convincing as a villain. Not after playing Jackie on That 70s Show or as the voice of Meg on Family Guy. I liked her in "Ted" and "Black Swan." But not here. Not in Oz. Then, there's Rachel Weisz, who usually makes great role choices and is a stunning actress (re: the Whistleblower, the Constant Gardener, and the Fountain). What happened?

Perhaps if you have children who will enjoy the spectacle of the land Sam Raimi has created for Oz with special effects, take them to see the film. But, if you're hoping for a film that matches the greatness of the original avoid it, because you will be severely disappointed.
The only thing that made the film okay for me was the company I had and the comments we made to each other throughout.