Tag Archives: David Heyman

MARRIAGE STORY (2019) – NETFLIX FILM REVIEW

MARRIAGE STORY (2019) – NETFLIX FILM REVIEW

Written and Directed by: Noah Baumbach

Produced by: David Heyman, Noah Baumbach

Cast: Scarlett Johansson, Adam Driver, Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty, Azhy Robertson, Merrit Weaver etc.

Cinematography: Robbie Ryan

Distributed by: Netflix

**MAY CONTAIN SPOILERS**



I think one of the trickiest things that can hinder a writer, is that doubt whether it is worth telling one’s story. This is especially true of privileged or first world narratives involving wealthy characters or those deemed not having to struggle daily. For me the way to beat such doubt is to write the hell out of your story. Moreover, you’ve got to make the story relevant to all audiences by concentrating on universal themes and creating empathetic characters. Noah Baumbach achieves this by writing and directing the hell out of Marriage Story (2019); a moving drama that focuses on something we can all relate to — a relationship break-up.

The film centres on a couple of creatives, Nicole and Charlie Barber, portrayed by Scarlett Johansson and Adam Driver. Charlie is a New York theatre director; Nicole is a Los Angeles actress. They have both been committed to forging successful careers. The film opens brilliantly as they attend relationship mediation, attempting to divorce amicably without the use of lawyers. Baumbach’s superb script starts strongly with each character delivering bittersweet monologues that describe what attracts them most to each other. Sadly, for them and their young son, Henry (Azhy Robertson), mediation fails and it’s not long before they are drawn into the Kafkaesque, manipulative and financially draining American legal system.



This is a gem of a film which finds a seemingly suited couple learning that their differences have slowly been driving a wedge between them. Charlie is a controlled and respected director who has worked his way up from nothing. Nicole is a more privileged, but equally talented actress; however, her free-spirited nature is locked in his shadows. Geographically too they are very different. While he is originally from Indiana, he has made New York his home. Moreover, while his avant garde plays have gained him critical acclaim, she yearns for the sunlight of Los Angeles and the offer of TV work. Thus, through sheer brilliance of the writing we, in a short period of time, understand and empathise with both characters’ situations.

As the narrative develops Baumbach’s script is brought to life with two incredible central performances by Adam Driver and Scarlett Johansson. They imbue Nicole and Charlie with a humanity and warmth, that even when we do not agree with their actions, we are still with them. As the story was inspired by his own divorce, Baumbach cares very much about these people. Indeed, he gives each actor the chance to shine during a number of fine monologues, bitter exchanges and heartfelt scenes of acceptance and potential reconciliation. Further, the supporting cast members are also really great too. Ray Liotta as a bitter shark of a lawyer and Laura Dern, as his legal adversary, have some wonderfully biting lines of dialogue. Meanwhile, Alan Alda, as Charlie’s other legal representative, is arguably too nice and avuncular for this cutthroat business. Together these collective legal minds, while shining a plausibly negative light on divorce proceedings, added strong energy to the comedy and drama of the film.

Ultimately, I have always respected Noah Baumbach’s films because he is a very solid independent writer and director. However, with Marriage Story (2019), he has matured beyond belief to create a compelling and funny relationship drama. It is full of standout scenes, with Adam Driver ever impressing and Scarlett Johansson delivering the best performance of her career. Lastly, as someone who has experienced a very difficult break-up involving a child, I felt every moment of grief, heartache, humour, love and relief on the screen. Yet, it’s worth reliving those moments because you know you survived; and so will Charlie, Nicole and their son, Henry.

Mark: 9.5 out of 11



ONCE UPON A TIME IN HOLLYWOOD (2019) – FILM REVIEW – A $90 MILLION “ARTHOUSE” & FETISHISTIC CLASSIC!

ONCE UPON A TIME IN HOLLYWOOD (2019) – FILM REVIEW

Directed and Written by: Quentin Tarantino

Produced by: David Heyman, Shannon McIntosh, Quentin Tarantino

Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Timothy Olyphant, Margaret Qualley, Austin Butler, Al Pacino, Mike Moh, Bruce Dern, Dakota Fanning, Damien Lewis, Kurt Russell and many, many more.

Cinematography: Robert Richardson

**MAY CONTAIN SPOILERS**

From watching the trailers for Quentin Tarantino’s ninth film, Once Upon A Time in Hollywood (2019), I remember thinking: this looks so cool and I’m glad they haven’t given away much of the story here. Because, I hate those darned trailers which give away the story!

So, you watch Quentin Tarantino’s ninth film and then you realise, after the excessive running time, THERE ISN’T REALLY ANY STORY as such! Okay, DiCaprio’s character suffers an existential career crisis but that’s kind of it. Instead, you get mostly a nigh-on three-hour historical and cultural nostalgia trip down memory lane filtered through the artistic and fetishistic vision of one of cinemas great filmmaking iconoclasts.

Once Upon A Time in Hollywood (2019), is essentially an arthouse character study where you get to hang out with two-and-a-half lead protagonists, plus a whole army of fictional and ‘real’ life supporting characters from the 1969 Hollywood era. Our two main “heroes” are neurotic, alcoholic B-movie actor, Rick Dalton (Leonardo DiCaprio), and tough, handsome and laconic, Cliff Booth (Brad Pitt). The two characters contrast and complement each other perfectly. Moreover, the star quality, chemistry and fine performances of the lead actors bind the movie together amazingly.

Brad Pitt is especially brilliant. His character is not, until the violent ending, given much to do story wise; however, he does it with such charm. He imbues a character who has accepted his place in the world with such easy-going humour and control, it is an absolute joy to watch. It’s an iceberg performance which seems shallow on the surface, but has hidden and unsaid depth. I really wanted to know more about his character, especially what appeared to be a very colourful backstory.

DiCaprio, on the other hand, has the showier performance. Edgy, hungover and insecure due to his characters’ fading Hollywood career, DiCaprio gives another fantastic movie performance. He commits to the Dalton character and features in some wonderful sketches which pay homage and parody B-movies, TV variety shows and old TV Westerns. What I loved was his ability to demonstrate different levels of acting skills. DiCaprio can fuck up Dalton’s acting on set one moment, but then deliver acting on a Shakespearean level the next.

Margot Robbie, who we know is a brilliant actor in her own right, alas, is not afforded the same level of care in regard to the characterisation of Sharon Tate. More of an ornamental character in the film, she looks great going to the cinema, packing a suitcase, driving and generally just being effervescent. Yet, it’s truly is one of the film’s major flaws that it doesn’t make more of Robbie’s acting talent. Even the fantastic ending, which Tarantino, takes incredible liberties with in regard to actual events, finds Tate’s character development unfortunately left bereft of emotion.

Similarly, the Hollywood cameos echoing throughout the films are pure style over substance. For example Steve McQueen, Roman Polanski and Bruce Lee feature but these are mostly inconsequential encounters. The Bruce Lee representation and scene is actually really funny as Cliff Booth and the martial arts star face off in a hilarious flashback. Typically, Tarantino has caused controversy with his Bruce Lee (Mike Moh) rendition. Personally, I respect that people may be offended, however, it’s more comedic and iconoclastic rather than overt racism. After all, this is a fairy-tale vision of Hollywood and not a documentary. Plus, Tarantino knows he’s going to piss people off so it’s obvious he’s playing with people here.

While Bruce Lee’s persona is playfully satirized or racist depending on your point-of-view, Tarantino’s representation of the Manson family is more damning. It’s clear he absolutely hates hippies, especially acid-looped killer hippies. Dalton and Booth represent the old-school, honest Hollywood working class, so are the antithesis of the drop-out youths. The culture clashes between this era and the new flower-power cults is something Tarantino explores. Charles Manson, who barely features, is a ghost-like figure though. Instead, it is the character of Tex (Austin Butler) and the females of the commune who are most prominent.

Margaret Qualley as Pussycat is especially hypnotic in her role. Exuding both sexuality and acid-drenched nihilism, Pussycat is a siren hitcher, luring drivers to symbolically crash against the cliffs. For me, Tarantino should have made way more of the old and new California culture clash themes, as they resonated powerfully when on screen. Plus, the scenes on the commune were actually quite creepy, so more should have been made of this threat from a dramatic perspective. Lastly, the irreverent and violent final act carnage exploits the clashing of these two different cultures, but more could have done throughout to enhance this dynamic.

Overall, Once Upon A Time In Hollywood (2019) is a near three-hour arthouse classic. If you like films about film and TV making, driving, feet, ensemble casts, films within films, cinema-going, Los Angeles, more feet; and hanging with the marvellous DiCaprio and Pitt in a 1969 setting, then you will love this beautifully rendered and lovingly crafted film about Hollywood. Otherwise, you will probably find it a boring, indulgent and style-over-substance folly. Either way you have to admire Tarantino’s exquisitely controlled writing and direction. He certainly does!!

Safe to say though Tarantino will not care either way, because most of his filmic output has made a lot of money at the box office. This has now allowed him the luxury, like that of true cinema artists such as Kubrick, Altman and Antonioni, to make whatever films a studio is prepared to give him the money for. He’s basically making films for himself and doesn’t care if the audience likes it or not.

I personally found myself magnetically drawn to Tarantino’s vision and from a purely filmmaking and artistic perspective I was totally immersed throughout. Having said that, if the incessant driving and shots of dirty feet were cut and Dalton and Booth had been given a proper plot, rather than the thin stranded narrative within the impressive gallery of cameos and set-pieces, I would definitely expect to be writing about one of the best films ever made.

Mark: 9.5 out of 11