Ray Pride

January and August of most years are the dodgiest months of all as studio-film releases go, when long-delayed, long-tampered-with and long-painful dogs are let out of their cages. The big studios (and Lionsgate) have in the past year or so done the service to the working reviewer of failing to preview these lost puppies for reviewers. (Although there is a Texas-based reviewer for Variety who notes he's assigned each Christmas morning to see the most violent release of the season that seeps up under the seasonal tree or bush.)

Folks who see a lot of movies professionally may be even more sensitive than the average movie-lover. Where the guy down the street can say of an enterprise like "The Rocker," "Nuh-uh. The idea of Rainn Wilson as an aging musical wanna-be who seems to be sporting a diaper turns my stomach. Want to get pizza?" and no one's the poorer. Steve Coogan playing a one-note, stuck-in-one-gear Steve Coogan-ish asshole in "Tropic Thunder" or "Hamlet 2"? How about sushi? Several writers in the 1980s made the suggestion that Steve Guttenberg was a star because he was an only-slightly-handsomer version of mid-level casting executives. More recently, the rapid-fire output of Judd Apatow-produced comedies about slightly shrubby losers getting the girl have led to similar musings about wish-fulfillment. (Although I'd say the confidence the somewhat slimmed-down Seth Rogen shows in "Pineapple Express" is a nice boost up from, say, Jonah Hill's apoplectically red-faced spleen and panic in "Superbad.")

Among this week's movies that were available for preview is Idit Cebula's larky French comedy, "Two Lives Plus One," the story of a Parisian wife pushed and pulled on all sides by her controlling family and whose life changes when she buys a laptop and starts keeping—and publishing—journals. She's played by Emmanuelle Devos, an actress whose charm goes beyond beauty and sensuality: she's simply someone you cannot but stare at. She's the same way in movies like Arnaud Desplechin's "Kings and Queen": wide almond eyes with a steady gaze, a slight overbite, assured, reserved—you remember that movies were once more than the sum of spare parts from the house of cards that is stock plot-development. Pictures of people talking, and more importantly, listening, can be more than illustrated radio. The French still make movies like that.

Although Devos has become a substantial star on her home turf, she displays the kind of expressiveness seen more often in American movies in the faces and behaviors of character actors, rather than the well-heeled lead players. Her characters aren't asked to experience some kind of spiritual transformation or to lead soldiers into battle—the "journey" doesn't involve an identikit destination, a predetermined, predestined, pre-masticated ending, but the particulars along the way.

But most importantly, she simply has "it": an actor who, as the saying goes, the camera loves, something beyond physical beauty. Mere charisma? Original Zen: someone you would gratefully watch on any journey. A few names off the top of the head: Luis Guzman. Marisa Tomei. Laurence Fishburne. Shu Qi. Jean-Pierre Leaud. Bruno Ganz. Richard E. Grant. Danny McBride. Tom Wilkinson. Elias Koteas. Warren Oates. Bruce Greenwood. Like termites, they bite through the fabric of the rote story unfolding. (Thelma Ritter in Sam Fuller's "Pickup on South Street": she sells multitudes.)

I'll confess to a couple of other actors that when I see their name on posters, I get the willies. But, just as I'm seldom disproved in my sneaking suspicions that Ben Stiller will play a character that seems ready to scratch his skin off from nerves and physical discomfort, there are actors I'd watch in just about anything. Say, Chow Yun-Fat in "The Children of Huang Shi." The director Roger Spottiswoode told me he had to be careful in that recent film about just how far back in the frame Chow was in some scenes: he could be fifty feet away, lighting up a cigarette, and your eye is immediately drawn, fixedly, toward his gestures. Godard said something once about the movies having, in the time since Griffith, forgotten about the wind in the trees. It's good to remember wind in the hair, too, and the transport that can play across a face in that simple instant of communing with nature.

"Two Lives Plus One" opens Friday at Siskel. Some bad movies, too.

(2008-08-26)

Also by Ray Pride

Still at the Movies
Sunday night, after thirty-three years, the movie review show that first featured Chicago newspapermen Roger Ebert and Gene Siskel swatting at each other while offering spirited opinions, breathed its last. The only survivors are distant cousins of short attention span. One of the reasons Ebert is an essential voice in American film criticism is because of his instincts as a trained newspaperman, the fine and largely misunderstood ability to provide cogent, thoughtful, lucid dispatches on deadline. (His enthusiastic output in recent months promises more of this, if fewer thumbs.) An important influence and stylist despite slim output, Manny Farber, was also stilled Sunday night. Farber, a painter and bold cultural critic, credited with coining the term "underground cinema," was 91
(2008-08-19)

Tip of the Week
Facets has assembled a sturdy roster of twenty or so key cinematic souvenirs of the anti-Vietnam War movement that exploded in Chicago during the August 1968 Democratic Convention, including Haskell Wexler's famous metafiction, "Medium Cool," which, during a police tear gas attack has a camera operator's words left on the soundtrack, "Look out, Haskell, it's real!"
(2008-08-19)

Candid Cameras
The light fires: four slow bursts to the eye, four shots. Corner of your eye, corner of the room, there's a couple dozen places this is commonplace in Chicago. But there's more ritual than with the now-ubiquitous self-portraits from cell phones and digital cameras: the photobooth is a foursquare, three-ring circus all its own. They're also an endangered product, created by a fragile mechanical contraption for the age of carnivals and midways, nothing so sleek you can slip in your pocket
(2008-08-13)

Tip of the Week
Opening the same week as "Frozen River," an American movie about trafficking in human souls, "The Unknown Woman," the first feature from Giuseppe Tornatore since 2000's "Malèna," is a heady, overproduced revenge tale about sex trafficking, and it's a heady eyeful
(2008-08-13)

Tip of the Week
(2008-08-05)

Stealing Beauty
(2008-08-05)

Dil Doings
(2008-07-29)

Tip of the Week
(2008-07-29)

I Am Curious, Yella
(2008-07-29)

Reality Bites
(2008-07-22)

Tip of the Week
(2008-07-22)

Scarlet Diva, Scarlet Empress
(2008-07-15)

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