There actually seems to be a large number of Filipino films directed by women, especially along the more commercial, mainstream end of film production. A swathe of comedies and romcoms have filtered through, in particular, to Netflix and much of them have a light, fluffy tone and likeable lead actors (who may be the same ones as we see in the serious arthouse festival dramas, but playing much different characters). Some are fairly tedious in the way of such films, but there are plenty which reward viewing and provide a rather likeable distraction from some of the more serious artfulness we associate with the Philippines and its cinema.
Though it would not be possible to do a themed week around romcoms without something by Nancy Meyers, it turns out she’s also dipped her filmmaking talents into the Christmas-themed picture with The Holiday, which of course is still a romcom primarily. Her films always feature couples trying to work out their issues, such as in 2009’s It’s Complicated, or even 2015’s The Intern (though the romcom plot is not at the core of that film), and she doubles it up for The Holiday, a comforting blanket of a movie, like so much of her work.
A Meyers family movie is a comforting thing (whether by mother Nancy or her daughter Hallie Meyers-Shyer, who made Home Again). Indeed, like the daughter’s film a decade after this one, there’s even something refreshing about a film where guys may act badly but no one is being an out-and-out creep. This means that there’s no danger that, however menacingly weird Jack Black’s smile may look, he’s going to try and force anything more than a kiss on Kate Winslet’s cheek and even then he’ll apologise winsomely for it. Oh sorry, I haven’t even mentioned the plot, have I? Well, Iris (Kate Winslet) and Amanda (Cameron Diaz) swap homes, for reasons… that’s all that you really need to know, though you might like to be aware that Jude Law will show up. The film does have a certain clunkiness to the setups, with some very self-aware “meet cutes” and an internet relationship that doesn’t seem likely, as well as a toe-curling opening voiceover from Winslet about her relationship with the dastardly Jasper (Rufus Sewell). Still, it is supremely Nancy Meyers-ish, and there are some very nice bourgeois homes on display in both the States and rural England.
Director/Writer Nancy Meyers; Cinematographer Dean Cundey; Starring Kate Winslet, Cameron Diaz, Jude Law, Jack Black, Rufus Sewell, Edward Burns; Length 135 minutes.
Seen at home (Amazon streaming), London, Monday 1 January 2018.
This Friday in the UK sees the release of Last Christmas, the latest romcom themed around the annual holiday, which presumably will lean heavily on snow, baubles, lights, eating and love. And of course, at this time every year, all the online streaming services provide unceasing Yuletide content, whether higher-end bigger-budget fare from Netflix (often starring Vanessa Hudgens, who will I gather be in The Knight Before Christmas for Netflix this season) or the Hallmark-style TV pabulum that often is made with the same stars, writers and directors every year, and probably throughout the year in dedicated studios in LA, Canada and Eastern Europe, I’m guessing. I already did a post about made-for-TV Christmas movies a few years ago, so I guess it’s time to update with a few more recent titles. Perhaps there’s a great film in this genre out there (or at least one I can rate as highly as being merely “good”), but I still seem to be searching.
Of all the recent success stories in Asian-American cinema, focusing on Asian diaspora characters (usually Chinese-American, but there are people of Singaporean, Korean, Malaysian, Hong Kong and Vietnamese extraction, amongst others, mixed in here), none has been more notable than the romantic comedy. Of course there are cinematic precedents, like Alice Wu’s touching and likeable Saving Face (2004). However, following Kumail Nanjiani’s well-received The Big Sick the year before, last year’s high-profile cinematic success of Crazy Rich Asians has been matched on the small-screen by the Netflix films To All the Boys I’ve Loved Before and this year’s Always Be My Maybe. I expect we’ll be seeing plenty more, and that can only be a good thing.
Early Fellini is probably the best Fellini, in my opinion, free of the baroque stylisation he would later fall victim to. That said, I find it difficult to imagine this as an Antonioni film (he was one of the writers of the original story, if not the screenplay), because it’s so filled with the extra touches Fellini would throw in, all light and music and movement and mugging for the camera. The lead actor is particularly good (Leopoldo Trieste), the one who plays the hapless husband making excuses for his star-struck wife, and it wasn’t until watching a making-of featurette that I realised this wasn’t a satire on film, but rather a satire on a very specific type of literature in which narratives were photographed for magazines, hence why I was confused about the nature of the shoot. Anyway, it’s all very pleasing and silly really.
FILM REVIEW: Criterion Collection
Director Federico Fellini; Writers Fellini, Tullio Pinelli and Ennio Flaiano; Cinematographer Arturo Gallea; Starring Alberto Sordi, Leopoldo Trieste, Brunella Bovo, Giulietta Masina; Length 83 minutes.
Seen at a friend’s home (DVD), London, Sunday 3 December 2017.
A sweet romantic comedy about a young Chinese-American doctor, Wilhelmina (Michelle Krusiec), who has trouble coming out to her community and to her mother (Joan Chen), just as her mother has become pregnant by a man whose identity she refuses to reveal, causing her to be kicked out of her home by her elderly parents. So yes, as you can tell, it has plenty of soapy melodrama. However, the strength of the acting and writing is such that it remains sweet and uplifting throughout. It moves towards an ending that tries to tie everything up happily, and in the context of too many films focusing on the burden and heartbreak of being gay in communities with more ‘traditional’ ideas that’s welcome, not that it hides the difficulty its protagonist goes through. However, on the most part everything is kept light and enjoyable, and it’s easy to identify with Wil’s struggles.
Director/Writer Alice Wu 伍思薇; Cinematographer Harlan Bosmajian; Starring Michelle Krusiec 楊雅慧, Lynn Chen 陳凌, Joan Chen 陳沖; Length 91 minutes.
Seen at home (DVD), London, Saturday 5 August 2017.
If I were being flippant, I’d call this the best Saudi romcom I’ve seen, but of course the Saudi film industry is hardly developed (the only other film I can recall seeing from that country is 2012’s Wadjda, itself a German co-production). However, its existence in a very small industry aside, it’s actually — on any terms — a sweet story of romance, with two fetching leads (Hisham Fageeh as the male Barakah, and Fatima AlBanawi as the woman, though she goes by Bibi for short). It deploys many familiar structures to the romcom genre — the meet cute, the flirting, meeting the family — but these take on new meaning against the background of harsh social strictures designed to prevent any of these things from happening in real life. Barakah’s work as a civic functionary affords him little additional power (the unseen religious police have far more authority), and while it seems that Bibi’s far wealthier life makes her more able to shrug off religious obligations, even she has little power outside the private sphere of the home. Still, the film hardly dwells on such matters (given the wide-reaching grip of religious fervour within this society, it hardly needs to), and the tone remains light throughout: there are some great, properly funny scenes, and some touching ones too, as the two get closer.
Director/Writer Mahmoud Sabbagh محمود صباغ; Cinematographer Victor Credi; Starring Hisham Fageeh هشام فقيه, Fatima AlBanawi فاطمة البنوي; Length 88 minutes.
Seen on a flight from Beirut to London, Monday 29 May 2017.
Yet another film — I feel like I see one every few months, but maybe I just like to seek them out — that fits neatly into the burgeoning romcom subgenre of New York-set films about middle-class intellectuals trying to find love. Many of them star Greta Gerwig; Maggie’s Plan is no different. That said, and I suppose a range of opinions may be available, but I think Gerwig is great, an intensely likeable screen presence whose delivery energises even the most familiar material. Here, the film follows the usual roundelay of attachments — Maggie is a teacher who falls for social anthropologist John (Ethan Hawke), who’s having trouble in his marriage to the frosty Georgette (Julianne Moore) — but it doesn’t insist on marriage or even romance as the way forward. That in itself makes it worthwhile, quite aside from all its excellent comic performances (Julianne Moore remains a force of nature).
NEW RELEASE FILM REVIEW
Director/Writer Rebecca Miller; Cinematographer Sam Levy; Starring Greta Gerwig, Ethan Hawke, Julianne Moore, Maya Rudolph, Bill Hader; Length 98 minutes.
Seen at Curzon Bloomsbury, London, Tuesday 12 July 2016.
I was pretty indulgent of this film when it first came out almost 20 years ago, and remember liking it on the big screen, but it was also the last of Kevin Smith’s films I saw and in retrospect I think maybe we just grew apart (I don’t even recognise the titles of some of his more recent works). In truth, my enjoyment of it it may be because I identified somewhat with Ben Affleck’s romantic lead Holden (his ill-advised 90s goatee aside) or maybe, as a friend opines, it’s because it was interesting and relatively unusual to see this geeky subculture of comic books and fan conventions portrayed on screen back then. In any case, it really doesn’t stand up to the test of time (if it ever was any good when I first saw it) and now strikes me as almost amateurish in its style, and in the attitude it takes towards its subject matter — the fluidity of sexuality and romantic desire, specifically as channelled through the character of Alyssa (Joey Lauren Adams), who is a lesbian… or is she??? [Cue this viewer’s heaviest sigh.] Jason Lee as Holden’s sidekick Banky has far more comic energy, even if his puerile fantasising tends towards aggressive hate words (or so they certainly seem now) and it’s not a stretch to see him as the narrow-minded person Kevin Smith indulgently imagines he’s moving away from, and Holden as a caustic self-portrait of himself not being able to deal with others’ sexuality. But I still feel that would be too forgiving to a set of characters who are all fairly one-dimensionally drawn caricatures, as colourful yet as flat as their comic book alter egos.
FILM REVIEW: Criterion Collection
Director/Writer Kevin Smith; Cinematographer David Klein; Starring Ben Affleck, Joey Lauren Adams, Jason Lee; Length 113 minutes.
Seen at Rialto, Wellington, December 1997 (and on DVD at a friend’s home, London, Sunday 17 January 2016).
I feel like I’ve been taking on quite a few unchallenging romcoms lately (as I did action films last year), and it’s a genre that more than many really does stand or fall on the likeability of its lead actors, and the breeziness of its writing. Which is just as well for How to Be Single because it has plenty of both. I mean, sure, it has some cloying sentimentality — most notably when Leslie Mann’s embittered character Meg gets the sudden desire to have a baby after apparently working for years as a maternity doctor — and it does suggest that being single is just a step on the path towards happy, heteronormative coupledom. Still, throughout its running time it does admirably stay focused on the single life of its four female leads, and when characters do get into relationships the film swiftly fast-forwards from first kiss to break-up via an intertitle (e.g. “3 months later”). It also along the way challenges the idea that having children without a father should be strange (though there’s a small role in this respect for Jake Lacy, which seems to present an alternative path from his character in Obvious Child). But whatever else it may do, it’s mostly about how lovely and watchable and empathetic Dakota Johnson is as a star — which is great because she was by far the best thing about Fifty Shades of Grey — and it has a good supporting turn from Rebel Wilson, who thankfully is not required to do an American accent, even if her character can sometimes be just a little too far along the ‘wacky/fun/drunk comedy sidekick’ continuum. Of the other stars, Alison Brie has a fairly minor role, and only Anders Holm as bar owner Tom really makes much of an impression amongst the roster of boyfriends, partners and love interests. Still, that’s fine by me, because this is a film primarily about the women’s experience of New York. It’s largely a middle-class vision (the script cheerfully references Friends and Sex and the City, of course), and as I said above, it doesn’t really challenge too many orthodoxies, but it’s likeable.
Director Christian Ditter; Writers Dana Fox, Abby Kohn and Marc Silverstein (based on the novel by Liz Tuccillo); Cinematographer Christian Rein; Starring Dakota Johnson, Rebel Wilson, Leslie Mann, Alison Brie, Anders Holm; Length 109 minutes.
Seen at Cineworld West India Quay, London, Monday 1 March 2016.