Collateral Beauty

On Wednesday night during winter break, I went with my sister to see Collateral Beauty (why, yes, that was my third movie of the day!).  This movie has been much maligned by critics but both Marilyn and I enjoyed it.  Howard Inlet (Will Smith) is a New York ad executive who credits three abstractions for his success:  love, because everyone needs it; time, because everyone wants more of it; and death, because everyone fears it.  After the tragic death of his young daughter, he retreats from the world and begins writing letters to these abstractions.  His colleagues Whit Yardsham (Edward Norton), Claire Wilson (Kate Winslet), and Simon Scott (Michael Pena), worried that his behavior is costing them clients, hire three unemployed actors to personify these abstractions.  Aimee (Keira Knightley), Raffi (Jacob Latimore), and Brigitte (Helen Mirren) portray Love, Time, and Death, respectively, and not only bring peace to Howard, but help Whit, who is struggling with his relationship with his estranged daughter; Claire, who laments the fact that she has spent all of her time focused on her career rather than starting a family; and Simon, who is battling terminal cancer.  One of the reasons I loved Manchester by the Sea, which also deals with the loss of a child, is that the grief is not magically abated at the end of the movie for a happy ending as it is in Collateral Beauty.  However, while the final scenes are contrived, they are also quite affecting and they did bring tears to my eyes (Marilyn was a blubbering mess).  I really enjoyed all of the performances, especially Mirren who was incredibly funny.  I recommend that you see Collateral Beauty for a feel-good movie to lift your spirits (but see Manchester by the Sea for a gritty and honest portrayal of grief).

Tchaikovsky's Violin Concerto

I interrupt my regularly scheduled commentaries on the movies I saw over winter break to tell you about the wonderful concert I saw last night at Abravanel Hall (and suggest that you go here to get a ticket to tonight's performance of the same program).  The Utah Symphony began with Symphony No. 2 by Charles Ives.  Ives is a quintessentially American composer and, just like the European composers who referenced epic myths in their works, he used the folktales and melodies of New England with which his audiences would have been very familiar.  Modern-day audiences enjoy finding all of the references (I was only able to recognize "America the Beautiful").  I really enjoyed this piece, especially the second movement which featured a beautiful theme played by a solo cello.  After the intermission, the orchestra played Variations for Orchestra by Anton Webern.  I was unfamiliar with both this piece and this composer and, on the surface it seemed very discordant, but underneath it there was a sort of beauty in the chaos.   Then came the piece I had been looking forward to all week: Tchaikovsky's Violin Concerto.  I really love the Russian composers in general and Tchaikovsky in particular and this piece is brilliant.  I absolutely loved it, especially the second movement because it is so passionate and mournful with a lovely theme played by a solo clarinet.  Violinist Noah Bendix-Balgley performed it magnificently (there was thunderous applause after the first movement).  I find it ironic that the violinist for whom the piece was composed declared it "unplayable" because Bendix-Balgley made it look effortless.  He favored us with an encore by playing a piece by Bach which was lovely.  I thoroughly enjoyed myself last night, despite having a terrible cold.  Ugh!

Note:  My movie commentaries will resume tomorrow.  There are three more!

Nocturnal Animals

The second half of my double-feature was the strangely compelling psychological thriller Nocturnal Animals.  Amy Adams plays Susan Morrow, a successful, but profoundly unhappy, Los Angeles gallery owner.  She receives a copy of a novel written by her ex-husband, Edward (Jake Gyllenhaal) and slowly becomes obsessed with it.  This film has a story-within-a-story as the novel is acted out as Susan reads it.  In the novel, Tony Hastings (Jake Gyllenhaal), along with his wife Laura (Isla Fisher) and daughter India (Ellie Bamber), is hijacked by a gang of thugs, led by Ray Marcus (Aaron Taylor-Johnson), on a remote road in the West Texas desert.  His wife and daughter are forced into the gang's car and are eventually raped and murdered.  Tony works with Lt. Bobby Anders (Michael Shannon) to find the culprits but there is not enough evidence to convict them so they end up meting out their own kind of justice.  Because the novel is dedicated to her, Susan believes that Edward wrote it for revenge because she left him for another man and aborted their unborn child.  She is also strangely attracted to Edward again but, like the character of Tony, Edward ultimately gets his revenge.  This is film-noir at its best with lots of Hitchcockian moments which kept me on the edge of my seat.  To be sure, it is quite strange (the opening alone may be off-putting to many) but I couldn't take my eyes off the screen.  Adams, Gyllenhaal, Shannon, and Taylor-Johnson (who is nominated for a Golden Globe) give outstanding performances and Tom Ford's direction is visually stunning.  I highly recommend it (but it is weird).

Moonlight

Last Wednesday I spent the day at the Tower theater, a small art house theater in the ninth and ninth district of SLC, for another double-feature of films garnering Oscar buzz.  I began with Moonlight, an achingly beautiful coming of age film about a boy searching for his identity in modern-day Miami.  The film explores three pivotal moments in the life of Chiron, beginning when he is a shy and withdrawn child (Alex Hibbert) known as "Little."  His mother (the brilliant Naomie Harris) is a crack addict and he is bullied at school when he is befriended by Juan (Mahershala Ali) who tells him that he gets to decide what kind of life he will have.  Little spends more and more time with Juan, viewing him as a mentor, until he learns that Juan is a drug dealer who supplies his mother.  Next, we see the teenage Chiron (Ashton Sanders) who is the target of a particularly cruel bully at school and an increasingly abusive mother.  He becomes friends with Kevin (Jharrel Jerome) and they become intimate.  Kevin betrays Chiron when he is forced to beat him in a hazing incident.  Finally, the adult Chiron (Trevante Rhodes), now known as "Black," is a tough, hardened, and disillusioned drug-dealer.  In an incredibly poignant scene, he makes peace with his mother who is in rehab and reunites with Kevin (Andre Holland).  It is a difficult film to watch but it does end with hope for Chiron.  I was particularly struck by Hibbert's portrayal of Little Chiron, especially the scene where he boils water by himself to take a bath.  It was heartbreaking for me to watch Little Chiron because he reminded me so much of Sean when he was little.  I loved this beautiful film and I highly recommend it.  However, the subject matter might be difficult for some.

Lion

Another film that is getting a lot of Oscar buzz is Lion so I saw it after the screening of Jackie in a double-feature (I love spending the day at the Broadway).  This film tells the incredible true story of one boy's journey to find his home.  Five year old Saroo (Sunny Pawar) accompanies his older brother to look for work but falls asleep on a bench in a train station.  His brother leaves him there telling him that he will be back for him soon.  Saroo gets on a train hoping for a more comfortable place to sleep but the train begins moving with him trapped inside.  The train stops in Calcutta, thousands of miles from home, where Saroo wanders the streets for months before being adopted by an affluent Australian couple (David Wenham and Nicole Kidman).  Twenty years later Saroo (Dev Patel) embarks on a course in restaurant management and meets a group of Indian students who spark his meager childhood memories.  He becomes obsessed with finding his family by using Google Earth.  I love the scene where he finally finds his village and, as he uses the satellite to view the streets, there are flashbacks of him as a child running along those same streets.  I also love the very poignant scene between Patel and Kidman when Saroo tells his adopted mother that he has been searching for his birth mother (made even more affecting by the fact that Kidman is an adoptive mother herself).  I did find Rooney Mara's role as Saroo's girlfriend to be rather superfluous.  She breaks up with him when his search becomes obsessive and has a tearful moment with him when he finds his family but she doesn't do much else to advance the plot.  There is the predictable reunion scene between Saroo and his mother followed by actual footage of the real-life Saroo with both his mothers but I found these moments to be very well done and incredibly heart-warming.  I really enjoyed this film and I highly recommend it.

Note:  Throughout the entire film, I kept wondering why it was called Lion.  When the reason was explained in the epilogue, it brought spontaneous tears to my eyes.