this week in film and television

INHERENT VICE

Reese Witherspoon and Joaquin Phoenix reveal that opposites attract in INHERENT VICE

INHERENT VICE (Paul Thomas Anderson, 2014)
Opened December 19
www.inherentvicemovie.com

It makes sense that award-winning writer-director Paul Thomas Anderson, who has made such complex, challenging films as Magnolia, There Will Be Blood, and The Master, has made the first cinematic adaptation of a novel by reclusive, iconoclastic author Thomas Pynchon, who has written such complex, challenging books as Gravity’s Rainbow, V., and Vineland. It also makes sense that the book he chose to adapt is Inherent Vice, probably the most lighthearted and breezy of Pynchon’s tomes. But it also makes sense that the film itself is complex and challenging — and downright confusing. Walking out of the theater, we were pretty sure we liked what we had just seen, even if we didn’t completely understand what had happened. (As Jena Malone said of the making of the film, “The logic becomes the chaos and the chaos becomes the logic.”) The neo-noir takes place in 1970 in the fictional Valley town of Gordita Beach (based on Manhattan Beach, where Pynchon lived for a long time). Joaquin Phoenix stars as Larry “Doc” Sportello, a mutton-chopped ex-hippie who is now a private gumshoe working out of a health clinic. One day his ex, Shasta Fay Hepworth (a transplendant Katherine Waterston), shows up to ask him to get her out of a jam involving her billionaire boyfriend, Mickey Wolfmann (Eric Roberts), who has gone missing, perhaps at the hands of Wolfmann’s high-society wife, Sloane (Serena Scott Thomas). Meanwhile, Doc is also hired by Hope Harlingen (Malone) to determine whether her supposedly dead husband, surf-sax legend Coy (Owen Wilson), is actually alive. As Pynchon himself says in the book trailer, “At that point, it gets sort of peculiar,” and peculiar it does indeed get, as Doc becomes immersed in a web of lies and deceit, dealing with a dangerous cult known as the Golden Fang (where Martin Short plays a sex-crazed dentist with a wild abandon), a curious health facility called the Chryskylodon Institute run by Dr. Threeply (Jefferson Mays), and Det. Bigfoot Bjornsen, a “renaissance cop” who has no time for any of Doc’s hippie crap, as the Manson murders hover over everything. Well, at least that’s what we think the plot is about.

Doc (Joaquin Phoenix) and Bigfoot (Josh Brolin) don’t agree on much in Paul Thomas Anderson adaptation of Thomas Pynchon novel

As with all Anderson films, Inherent Vice looks and sounds great; cinematographer Robert Elswit, who has shot most of Anderson’s films, bathes the quirky drama in hazy, syrupy colors, while Jonny Greenwood’s score is accompanied by songs by Can, Sam Cooke, Minnie Riperton, the Marketts, and Neil Young. (In fact, Young’s Journey through the Past experimental film served as an influence on Anderson when making Inherent Vice, as did David Zucker, Jim Abrahams, and Jerry Zucker’s Police Squad and Naked Gun series, Robert Altman’s 1973 Philip Marlowe movie The Long Goodbye, and Howard Hawks’s 1946 version of Raymond Chandler’s The Big Sleep.) It all has the feel of the Coen brothers’ The Big Lebowski as reinterpreted by Anderson and Pynchon — who might have been on-set during at least some of the shooting and supposedly makes a cameo in the picture. The film is littered with absurdist jokes and oddities, from the way Bigfoot eats a chocolate-covered banana to a trio of FBI agents picking their noses, from the right-wing Vigilant California organization to a clip from the 1952 Cold War propaganda film Red Nightmare. Phoenix once again fully inhabits his character, who putt-putts around in an old Dodge Dart and just wants life to be mellow and groovy. Brolin is hysterical as his foil, the straitlaced, flattop cop who has a penchant for busting down doors. The large cast also includes Benicio del Toro as Sauncho Smilax, Doc’s too-cool lawyer; Reese Witherspoon as Penny Kimball, Doc’s well-coiffed girlfriend; Maya Rudolph (Anderson’s real-life partner and the daughter of Riperton) as receptionist Petunia Leeway; Sasha Pieterse as Japonica Fenway, who hangs with Golden Fang dentist Rudy Blatnoyd (Short); and Joanna Newsom as Sortilège, the film’s narrator (who does not appear in the book). Inherent Vice is yet another unique cinematic experience from Anderson, one that is likely to take multiple viewings to understand just what is going on, but as with his previous films, it is likely to be well worth the investment.

BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE)

Riggan Thomson (Michael Keaton) and Mike Shiner (Edward Norton) battle it out onstage and off in BIRDMAN

BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) (Alejandro G. Iñárritu, 2014)
Opened October 17
www.birdmanthemovie.com

In Birdman or (The Unexpected Virtue of Ignorance), Oscar-winning cinematographer Emmanuel Lubezki’s swirling camera immerses the audience in Mexican director Alejandro G. Iñárritu’s gripping whirlwind black comedy of a former superhero action star trying to regain respect on the Broadway stage. Onetime Batman star Michael Keaton plays Riggan Thomson, an actor who left his blockbuster Birdman franchise in order to be taken more seriously. Twenty years later, he is considering refinancing his house in order to support his Broadway debut as writer, director, and star of an adaptation of Raymond Carver’s short story “What We Talk about When We Talk about Love.” As he works on the play with costars Mike Shiner (Edward Norton), Shiner’s girlfriend, Lesley (Naomi Watts), and his own girlfriend, Laura (Andrea Riseborough), he battles his inner demons, which take the form of the dark, gravelly voice of his Birdman character (voiced by Keaton). Either his somewhat obscure but vaguely Buddhist spiritual pursuits or his Birdman abilities also apparently give him the ability to move objects with his mind; the first time we see him, he is levitating in front of the window of his dressing room at the St. James Theatre. His team also includes his devoted lawyer, producer, and best friend, Jake (Zach Galifianakis), his stalwart stage manager, Annie (Merritt Wever), and his daughter and personal assistant, Sam (Emma Stone), a bitter and cynical young woman fresh out of rehab. He also has an encounter with vicious theater critic Tabitha Dickinson (Lindsay Duncan), who is licking her lips in anticipation of reviewing his show. With opening night approaching, Thomson must look deep within himself as he reevaluates his life and career.

Riggan Thomson (Michael Keaton) tries to reestablish his relationship with his daughter, Sam (Emma Stone), in BIRDMAN

Iñárritu (Amores Perros, Babel) and Lubezki (Gravity, Children of Men) take viewers on a wicked, wild ride in Birdman, which is masterfully made to look as if it is one continuous two-hour shot, the handful of cuts cleverly hidden as the camera roams through the narrow hallways and small dressing rooms of the St. James and into (and above) Times Square, instilling the film with the energy and feel of live theater. The live aspect reaches a new peak when, as Thomson is winding his way backstage accompanied by Antonio Sánchez’s propulsive percussion score, he runs past a man playing the music on the drums. (Think Count Basie leading his band out on the western plains in Blazing Saddles.) Another inside joke occurs when Shiner is shown reading Jorge Luis Borges’s Labyrinths, a short-story collection filled with magical scenes of its own. Keaton gives the best, bravest performance of his career as Thomson, a comeback role that clearly hits home; it seems so tailor made for him that it is hard to believe it was not written specifically for the ’80s star of such hits as Night Shift, Mr. Mom, Gung Ho, and Beetlejuice. Keaton — who has had very limited theater experience — lets it all hang out, as does Norton, channeling his narrator character from Fight Club. The film’s supporting cast is outstanding as well, including Watts, who is now considering making her long-awaited theater debut, and Amy Ryan as Thomson’s ex-wife, but Stone’s big, expressive eyes nearly steal the movie. Birdman is so fresh and potent, so dynamic and spirited, that it’s easy to forgive it its few plot holes. It’s a biting satire of Hollywood and Broadway, of fame and stardom, a magical fantasy that relates to everyone’s fear of becoming insignificant.

ORSON WELLES 100: CITIZEN KANE

Orson Welles masterpiece kicks off centennial celebration of controversial auteur’s birth

CITIZEN KANE (Orson Welles, 1941)
Film Forum
209 West Houston St.
January 1-8
Series continues through February 3
212-727-8110
www.filmforum.org
www2.warnerbros.com

Film Forum is ringing in 2015 with the greatest American movie ever made, the epic Citizen Kane, kicking off a massive centennial celebration of the birth of its creator, the rather iconoclastic writer, director, producer, actor, and wine spokesman Orson Welles. In 1941, a young, brash, determined Welles shocked Hollywood with a masterpiece unlike anything seen before or since — a beautifully woven complex narrative with a stunning visual style (compliments of director of photography Gregg Toland) and a fabulous cast of veterans from his Mercury radio days, including Everett Sloane, Joseph Cotten, Ray Collins, Paul Stewart, and Agnes Moorehead. Each moment in the film is unforgettable, not a word or shot out of place as Welles details the rise and fall of a self-obsessed media mogul. The film is prophetic in many ways; at one point Kane utters, “The news goes on for twenty-four hours a day,” foreseeing today’s 24/7 news overload. And it doesn’t matter if you’ve never seen it and you know what Rosebud refers to; the film is about a whole lot more than just that minor mystery. Like every film the Wisconsin-born Welles made, Citizen Kane was fraught with controversy, not the least of which was a very unhappy William Randolph Hearst seeking to destroy the negative of a film he thought ridiculed him. Kane won only one Oscar, for writing — which also resulted in controversy when Herman J. Mankiewicz claimed that he was the primary scribe, not Welles. The film lost the Academy Award for Best Picture to John Ford’s How Green Was My Valley, but it has topped nearly every greatest-films-of-all-time list ever since.

Orson Welles was one of a kind, as splendid Film Forum series shows

A classic American story that never gets old, Citizen Kane, in a 4K restoration, will run at Film Forum January 1-8, igniting “Orson Welles 100,” a four-week festival programmed by Bruce Goldstein along with consultant Joseph McBride, author of What Ever Happened to Orson Welles? A Portrait of an Independent Career. Welles’s career was fraught with controversy, with battles over editorial control, finances, and politics, with more unfinished projects than completed ones. As McBride points out at the start of his 2006 book, “‘God, how they’ll love me when I’m dead!’ Welles was fond of saying in his later years, with a mixture of bitterness and ironic detachment. But that’s a half-truth at best. More than two decades after Welles’s death, his career is, in a very real sense, still flourishing. But it is a disturbing irony that Welles is more ‘bankable’ now than when he was living.” The Film Forum series confirms this statement, consisting of more than thirty films that Welles directed and/or appeared in, including multiple versions of Touch of Evil and Macbeth; the lineup ranges from the familiar (The Magnificent Ambersons, The Third Man, Compulsion, A Man for All Seasons) to the obscure (Prince of Foxes, The Black Rose, Man in the Shadow, Black Magic), from the Shakespearean (Chimes at Midnight, Macbeth, Othello) to the Muppets (The Muppet Movie). Among the double features are The Immortal Story and F for Fake, The Stranger and Journey into Fear, and Jane Eyre and Tomorrow Is Forever. McBride will be on hand to present the rarities collection “Wellesiana” as well as the “Preview version” of Touch of Evil on January 14 and the “Scottish version” of Macbeth on January 16, joined by Welles’s daughter Chris Welles Feder.

THE CONTENDERS 2014: THE MISSING PICTURE

Director Rithy Panh uses dioramas to fill in the gaps in Oscar-nominated THE MISSING PICTURE

THE MISSING PICTURE (L’IMAGE MANQUANTE) (Rithy Panh, 2013)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Saturday, January 3, 7:30
Series runs through January 16
Tickets: $12, in person only, may be applied to museum admission within thirty days, same-day screenings free with museum admission, available at Film and Media Desk beginning at 9:30 am
212-708-9400
www.moma.org
www.themissingpicture.bophana.org

Winner of the Un Certain Regard prize at Cannes and nominated last year for a Best Foreign Language Film Academy Award, Rithy Panh’s The Missing Picture is a brilliantly rendered look back at the director’s childhood in Cambodia just as Pol Pot and the Khmer Rouge began their reign of terror in the mid-1970s. “I seek my childhood like a lost picture, or rather it seeks me,” narrator Randal Douc says in French, reciting darkly poetic and intimately personal text written by author Christophe Bataille (Annam) based on Panh’s life. Born in Phnom Penh in 1964, Panh, who has made such previous documentaries about his native country as S21, The Khmer Rouge Killing Machine and Duch, Master of the Forges of Hell and wrote the 2012 book L’élimination with Bataille, was faced with a major challenge in telling his story; although he found remarkable archival footage of the communist Angkar regime, there are precious few photographs or home movies of his family and the community where he grew up. So he had sculptor Sarith Mang hand-carve and paint wooden figurines that Panh placed in dioramas to detail what happened to his friends, relatives, and neighbors. Panh’s camera hovers over and zooms into the dioramas, bringing these people, who exist primarily only in memory, to vivid life. When people disappear, Panh depicts their carved representatives flying through the sky, as if finally achieving freedom amid all the horrors. He delves into the Angkar’s propaganda movement and sloganeering — the “great leap forward,” spread through film and other methods — as the rulers sent young men and women into forced labor camps. “With film too, the harvests are glorious,” Douc states as women are shown, in black-and-white, working in the fields. “There is grain. There are the calm, determined faces. Like a painting. A poem. At last I see the Revolution they so promised us. It exists only on film.” It’s a stark comparison to cinematographer Prum Mésa’s modern-day shots of the wind blowing through lush green fields, devoid of people.

The Missing Picture is an extraordinarily poignant memoir that uses the director’s personal tale as a microcosm for what happened in Cambodia during the 1970s, employing the figures and dioramas to compensate for “the missing pictures.” Like such other documentaries as Jessica Wu’s Protagonist and In the Realms of the Unreal, Michel Gondry’s Is the Man Who Is Tall Happy?, Jeff Malmberg’s Marwencol, and Zachary Heinzerling’s Cutie and the Boxer, which incorporate animation, puppetry, and/or miniatures to enhance the narrative or fill in gaps, Panh makes creative use of an unexpected artistic technique, this time concentrating on painful history as well as personal and collective memory. The Missing Picture is screening January 3 at 7:30 as part of MoMA’s annual series “The Contenders,” which consists of films the institution believes will stand the test of time; the series continues with such other documentaries as Laura Poitras’s Citizenfour, Frederick Wiseman’s National Gallery, and Sergey Loznitsa’s Maidan.

NITEHAWK NASTIES: THE DEVIL’S REJECTS

Sid Haig is back for more clownish fun as Captain Spaulding in THE DEVILS REJECTS

Sid Haig is back for more devilish fun as Captain Spaulding in THE DEVIL’S REJECTS

NITEHAWK MIDNITE SCREENINGS: THE DEVIL’S REJECTS (Rob Zombie, 2005)
Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
Friday, January 2, and Saturday, January 3, 12:10 am
718-384-3980
www.nitehawkcinema.com

Although writer-director Rob Zombie refuses to call this a sequel to 2003’s House of 1000 Corpses, The Devil’s Rejects is a sequel to Zombie’s 2003 horror hit House of 1000 Corpses. Mad clown Captain Spaulding (Sid Haig) is back, as are murderous siblings Otis (Bill Moseley) and Baby (Sheri Moon Zombie, Rob’s wife). Mother Firefly, played by the vixenous Karen Black in the first flick, is here portrayed with delicious delight by Leslie Easterbrook (of Police Academy fame). In this gorefest, Otis and Baby are on the lam from Sheriff Wydell (William Forsythe), who is determined to avenge his brother’s death; they hole up in a skeevy motel with a quartet of hostages that includes perennial Clint Eastwood bad boy Geoffrey Lewis and Three’s Company escapee Priscilla Barnes. Zombie cleverly plays with genre cliches throughout the film; what you think is going to happen — or not happen — gets turned upside down, so you never quite know where things are heading (although you can always count on a shot of his wife’s butt). Zombie, leader of the heavy metal band White Zombie, injects a wry sense of humor by including such ’70s pop music as Elvin Bishop’s “Fooled Around and Fell in Love,” Steely Dan’s “Reelin’ in the Years,” David Essex’s “Rock On,” and even Lynyrd Skynyrd’s “Freebird,” always at extremely appropriate moments. Add a star if you love films that relish gore; delete two and a half if you can’t stand them. The Devil’s Rejects is being shown January 2 and 3 at 12:10 am as part of Nitehawk Cinema’s Nitehawk Nasties and Nitehawk Midnite Screenings series.

FIRST SATURDAY: “CROSSING BROOKLYN” ARTISTS’ CHOICE

Brooklyn Museum
200 Eastern Parkway at Washington St.
Saturday, January 3, free, 5:00 – 11:00
212-864-5400
www.brooklynmuseum.org

The Brooklyn Museum welcomes in 2015 by handing over the reins of its free monthly First Saturdays program to several of the artists featured in “Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond,” which concludes on January 4. The night before, curators Eugenie Tsai and Rujeko Hockley will discuss the exhibition at 5:30, “Crossing Brooklyn” artist Linda Goode Bryant will talk about urban farming at 6:15, jazz percussionist Ches Smith will activate David Horvitz’s forty-seven suspended bells as part of a site-specific musical composition at 6:30, and BFAMFAPhD (Blair Murphy, Susan Jahoda, and Vicky Virgin) will delve into the nature of creativity and debt at 7:15. “‘Crossing Brooklyn’ Artists’ Choice” also features live performances by Snarky Puppy, DJ Selly and DJ Asen from Fon, ventriloquist Nigel “Docta Gel” Dunkley (telling the story of Cindy Hot Chocolate from Geltown), immersive dance company Ani Taj and the Dance Cartel, Fela! veterans Chop and Quench led by Sahr Ngaujah, and spoken word poets Corina Copp, Patricia Spears Jones, Rickey Laurentiis, and Charles North as well as Greg Barris’s “Heart of Darkness” comedy showcase with Janeane Garofalo and Ilana Glazer, a print-making art workshop, a creative writing workshop led by Jaime Shearn Coan, and D’hana Perry’s multimedia improvisational “LOOSE.” In addition, you can check out such exhibitions as “Revolution! Works from the Black Arts Movement,” “Judith Scott — Bound and Unbound,” and “Chitra Ganesh: Eyes of Time.”

LET THERE BE LIGHT — THE FILMS OF JOHN HUSTON: FAT CITY

Stacey Keach and Jeff Bridges fight for a better life in and out of the ring in FAT CITY

Stacey Keach and Jeff Bridges look for a better life in and out of the ring in John Huston’s FAT CITY

FAT CITY (John Huston, 1972)
Film Society of Lincoln Center, Walter Reade Theater
165 West 65th St. between Eighth Ave. & Broadway
Thursday, January 1, 4:00, Sunday, January 4, 8:30, and Monday, January 5, 3:30
Festival runs through January 11
212-875-5050
www.filmlinc.com

Genre master and onetime boxer John Huston returned to the ring in Fat City, a gritty 1972 drama about a group of has-beens and never-will-be’s struggling to survive in Stockton, California. Stacey Keach stars as Billy Tully, a down-on-his-luck fighter looking to make a comeback at the ripe old age of twenty-nine. He spars at the local Y with eighteen-year-old Ernie Munger (Jeff Bridges) and likes what he sees in the kid, telling him to meet his old manager, Ruben (Cheers’ Nicholas Colosanto), who decides to take on the unseasoned youngster. While Ruben lands Ernie — who seems more interested in bragging about having scored with his girlfriend, Faye (Candy Clark), than training properly — his first few bouts, Tully gets day work picking vegetables and hangs out at a local gin joint with a seedy, whiskey-voiced barfly named Oma (an Oscar-nominated Susan Tyrrell). Legendary cinematographer Conrad Hall, who shot such wide-ranging gems as Cool Hand Luke, In Cold Blood, Butch Cassidy and the Sundance Kid, Marathon Man, and American Beauty, casts a gray pall over the proceedings as dashed hopes and dreams come falling down on these disillusioned perennial losers. In many ways Fat City, based on the novel by Leonard Gardner — who also wrote the screenplay — is an update of Elia Kazan’s On the Waterfront, but moved to the hard times of early ’70s America, when so many people had no way out. You do not have to be a fight fan to fall in love with this film. A clear influence on such auteurs as Martin Scorsese, Fat City is screening January 1, 4, and 5 as part of the Film Society of Lincoln Center series “Let There Be Light: The Films of John Huston,” which runs through January 11 and consists of forty films directed by Huston, in addition to a handful of other works he either appeared in or that demonstrate his lasting influence.