The Sisters Brothers (2018)

I took a break last week because I was on holiday (although didn’t end up leaving home), but this week I’ll be building up to my Global Cinema entry on Belgium (on Saturday). As a loose theme, then, I’m covering films with a Belgian production credit, though it turns out a lot of films with some Belgian financing aren’t particularly ‘Belgian’, whatever that might amount to. This one, for example, is an American film by a French director, also co-produced by partners from Belgium, Romania and Spain, so it spans plenty of countries, without really representing any of them exactly — except of course America, where it’s set. Still, it’s a way of looping in a lot of not very Belgian films into consideration this week.


This Western crime comedy drama is directed by a French man with an enormous number of production deals (the first title card of the film, as it builds up all its production and co-production credits, is itself somewhat hilarious) and surely has a lot of money on-screen in what I assume is a faithful rendering of Oregon and California in the mid-19th century. However, it does strike rather an odd tone, a sort of laidback melancholia with bursts of violence and goriness that leads up to a dream-like ending, a story of two brothers (Reilly and Phoenix) who have a quest, even if that quest largely loops back to a consideration of their own family and the way they have been brought up. The acting is, as you might expect, very solid, with no notable let-downs, and Phoenix is a particular good fit to his character. Some of the digital photography seemed just a little on the ‘uncanny’ side, but maybe that was just me or the screening I was at. In any case, there’s plenty to like here, but it is at the very least meandering.

The Sisters Brothers film posterCREDITS
Director Jacques Audiard; Writers Audiard and Thomas Bidegain (based on the novel by Patrick deWitt); Cinematographer Benoît Debie; Starring John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal, Riz Ahmed; Length 121 minutes.
Seen at Curzon Bloomsbury, London, Saturday 20 April 2019.

Two Recent Period Films: A Most Violent Year and Inherent Vice (both 2014)

Two films that I’ve seen in the last week have a sort of complementary quality, as they are both films set in the United States at either end of the 1970s and at either edge of the country, charting a marked social decline and dealing broadly with the creeping corruption of deeply-held ideals. Inherent Vice is set in 1970, and is a broadly-comic meandering Los Angeles-based story focused on stoner detective Larry ‘Doc’ Martello (Joaquin Phoenix), while A Most Violent Year has its principled entrepreneur Abel Morales (Oscar Isaac) try to grow his business in the New York City of 1981.

Jessica Chastain and Oscar Isaac in A Most Violent Year

I like both very much, though I suspect that aspects of the narrative construction will turn off some viewers. Both can be frustrating, albeit in slightly different ways. J.C. Chandor’s New York-set film is one of underlit interiors and slow-build dramatic tension, as Abel tries to get financing for a property deal that will give his company a platform to grow, while trying to figure out who is sabotaging his attempts. It’s a film with a canny sense of space, largely charting a series of offices and homes where Morales and his wife Anna (Jessica Chastain) broker deals and balance books. There’s only a small amount of kinetic action: the drama is in the deals, and for a film quite so obsessed with Morales’s company accounts, it generates plenty of tension. Bradford Young’s understated cinematography gains maximum effect from the ever-popular yellowish sepia-toned filters that impart a nostalgic quality (while expertly blocking shots of the city’s skyline to occlude where the Twin Towers would be).

Ostensibly quite different in look and tone, Inherent Vice also builds slowly, but in a more novelistic way (befitting its source text) — a patchwork of characters and motivations that can overload the viewer. Those for whom plot details are important may be turned off by the excess of them, but in that respect it’s not unlike similarly overplotted gumshoe stories as The Big Sleep (1946). The setting and look, not to mention that paranoid West Coast vibe, bring to mind another Chandler point of reference in The Long Goodbye (1973). Cinematographer Robert Elswit has done a terrific job in replicating a lot of that earlier film’s feel, using celluloid stock to gorgeous effect. It’s the visual equivalent of a vinyl record — I’ll stop short of hymning any richer ‘authenticity’ (because I have little truck with those kinds of arguments), but it definitely imparts a quite different feel from the digitally-shot Violent Year.

Right now, I might as well go ahead and admit something controversial amongst critics, which is that I’ve never been much of a fan of auteur Paul Thomas Anderson and his massively overpraised films. Sure they’re well-crafted, but I’ve felt a hollowness of over-eager self-congratulatory intent from The Master and There Will Be Blood in particular; I’ve not hated either, but I’ve stopped short of embracing them. Indeed, at the end of last year, I was all ready to write a bit of anti-PTA clickbait in the run-up to this most recent opus. And yet, well, here we are, and I really liked Inherent Vice. It’s been getting a bit of a kicking from some quarters that feels entirely undeserved. It’s a mood piece, of hippy idealism being quietly subverted by forces of governmental conformism and the unscrupulousness of capitalist property developers. Mental health wellness institutions, massage parlours, office blocks and Aryan thugs are all brought into the picture to complicate the pot-addled simplicity of Doc’s lifestyle, and Phoenix is frequently called upon to express wide-eyed confusion at unfolding developments (not unlike the audience).

Spending time watching Inherent Vice is to immerse oneself in a world, an evocation of this most perplexing of American cities that can stand alongside Chinatown (another film touching on civic corruption). There’s no shortage of cameos for famous actors, but all are in service of the film’s period atmosphere and subtly comic timing. It’s even got me thinking, for the first time ever, that maybe I should reconsider Anderson’s oeuvre.


A Most Violent Year film posterA Most Violent Year (2014)
Director/Writer J.C. Chandor; Cinematographer Bradford Young; Starring Oscar Isaac, Jessica Chastain, Albert Brooks, David Oyelowo; Length 125 minutes.
Seen at Odeon Haymarket, London, Thursday 29 January 2015.

 

 

Inherent Vice film posterInherent Vice (2014)
Director/Writer Paul Thomas Anderson (based on the novel by Thomas Pynchon); Cinematographer Robert Elswit; Starring Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterston, Joanna Newsom; Length 149 minutes.
Seen at Cineworld West India Quay, London, Thursday 5 February 2015.