Who Dares, Wins – The Disaster Artist (2017), dir: James Franco

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For decades, the writer, director, producer and star of the ‘best worst film ever made’ has been a mystery. We still have no clue about his country of origin, his age, where his money come from, etc. But isn’t it the mystery around one’s origins and personality a necessary ingredient for exciting people’s curiosity and giving birth to wild theories around them? In the case of Tommy Wiseau in particular, his secretive and yet, absurdly eccentric persona rose to fame when it was channelled through his first ‘masterpiece’, The Room.

Watching The Disaster Artist you get the feeling that James Franco has a special connection with Wiseau’s persona and as clear a vision as the latter claimed to have while making his own film. Putting them side by side (end credits prove the adaptation has excelled in detail), it is evident that Franco has fully immersed into Wiseau’s existence and got out with more shades that we ever got from the man himself in interviews. Franco captures the bizarre, outwardly amalgam of accents, the occasional high-pitch finishing of words, the dizzy intonation and of course, the signature fake laughter.

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The film succeeds to introduce the character in a scene shockingly funny, painfully embarrassing and also, strangely relatable that manages to connect you with this bizarre man. He is passionate and daring but instantly strikes us as a tragic clown as he is not aware of himself in relation to others and that is a guarantee for loneliness. And lonely he is, until he finds a true friend in Greg Sestero (Dave Franco), or ‘Babyface’(a la Tommy) and they begin the journey to stardom together.

The film immediately starts to explore the bond between the two, with a hopeful and honest bromance flourishing around their common aspirations. But what at first, looks like a hymn to unlikely friendship and an inspirational pursuit of a dream, soon becomes a tale haunted by jealousy, bursts of anger, and manipulative handling.

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The film insinuates that beyond jealousy and fear of losing a companion, there’s a romantic infatuation that triggers Tommy’s despair when Greg slowly slips away. However, it is disappointing that it avoids taking a closer look and consequently, ends up raising questions around Tommy’s psyche and sexuality, and Greg’s inexhaustible tolerance.

Franco’s portrayal of Tommy is full of compassion and childish spontaneity that makes him a likeable caricature, funny but never entirely, as there’s great guilt in laughing at someone who is doing their best, however insufficient and ridiculous that might be. This is perhaps what makes the film uniquely entertaining, the duplicity of the source of our laughter, genuinely farcical scenes layered with the realisation that the person in question has no intention of being funny and thus, having is laugh at the tragedy of a man being trapped in his ridiculousness.

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Franco allows us to peep into Tommy’s feelings and sense the vulnerability and the pain stemming from rejection. There are scenes where we get a glimpse of a more complex human being that escapes the caricature. These scenes include his ‘Shakespeare performance’ in the restaurant, the advice he gets from the acting teacher, the casting scene where he is trying to ‘lose the accent’, his confrontation with his film crew for their insults (captured by his behind-the-scenes cameraman/snitch), and his despair towards the audience’s reaction to his movie, amongst others.

In these, Franco’s face is heart-breaking as a slight emotional transparency is achieved, just enough to invoke empathy but quickly, flashes back the childness and stubborn persistence in ridiculousness of the man. To make matters worse, Tommy’s immature and absurd reactions to Greg’s success with women, and later on, to his first potential career break show us his unflattering side and are inconsistent to his generous and friendly nature, as presented at the beginning of the film.

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Admittedly, Tommy’s angry attacks and violent disappointment is bearing the pressures of completing his project but also, the helplessness of his utter loneliness. According to Sestero who wrote the book adapted here by Franco, Wiseau felt that ‘no one was grateful’ for giving them a job or ‘respected his vision’ and perhaps, despite his constant, unreasonable denial of reality he might have had some doubts himself about his abilities and the quality of his brainchild.

In spite of the darkness and loneliness we mostly infer than actually see in the film, there is an ensemble of great supporting actors, with Seth Rogen giving voice to the audience, Jacki Weaver expressing love for the craft and bafflement over the script, Paul Scheer being discreetly funny, and many others.

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After the film you might invite your friends over for a re-watch of The Room, greet everyone starting with “oh, hi…” and try at least once screaming “You’re tearing me apart…” a la Wiseau. You might be haunted for the rest of your days by Tommy’s stage imitation of Marlon Brando’s Streetcar Named Desire famous scene, be tempted to display some craziness in a public place and perhaps, remember when was the last time YOU took a chance and went after your dream, despite it being against the odds and everyone else’s opinion?

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The limp that mushroomed into a castration – The Beguiled (2017), dir: Sofia Coppola

Sofia Coppola’s new film tells the tragic story of eight people brought together by circumstances, or in other words tells the dark tale born by two opposing forces, the man and the woman, the sex drive and the suppression of instincts, the punishing control and the uncontrollable freedom.

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The Beguiled is an adaptation of Don Siegel’s 1971 film of the same name, both based on the Thomas P. Cullinan’s 1966 novel “A Painted Devil”. I strongly encourage you to watch the original film, starring Clint Eastwood only to perceive how unsimilar can be two stories drilling from one source (with many of the dialogues and scenes found in both). The tone of the films is so diametrically opposite and feels like two people told you the same story but saw its characters in an utterly different light. The first person saw a school of sexually frustrated young girls and lonely hugs that stage a porn play with a wounded soldier at the lead and the second person saw ladies, frustrated with their drained of pleasure and excitement lives whose most raw and vengeful instincts get triggered by the seductive presence of a wounded soldier.

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The original film is eccentric, crude and gripping as it strips (literally) the heroines and villainises them either through their admittedly cruel actions or through their manic claim of the Corporal’s attention. Coppola wouldn’t stand for such a simplistic depiction of sexual deprivation and carnal desire so she created an adaptation far more fair to the female psych and libido. Elle Fanning’s Alicia is a teenage girl bored to the death in this cage of a school and filled with hormones in her stage of sexual awakening and not a slutty and persistent little devil, acting with the confidence of a much older and experienced woman (Jo Ann Harris).

In addition, leaving out several controversial elements of the first movie help maintain focus on the central storyline, such as McBurney’s kiss to the 12-year old Amy after he reassures her that she’s “old enough for kisses” (eh, pervert alert right there…), or the fact that Miss Martha’s late brother was also her lover (eh, brotherly love took a wildly inappropriate turn…).

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It is no wonder Sofia Coppola won the Best Director award in Cannes Festival, as The Beguiled is a masterful cinematic piece that gently pulls you into the world of these women.  The images of the countryside with the misty landscapes and the  ghost-like whipping willows surrounding the school of white marble in classical architectural style alternate with the claustrophobic scenes that find  its inhabitants interacting under the mysterious candle light (choosing a shorter aspect ratio, resembling a box in order to transit the sense of entrapment).

The film tells the story laconically (94 minutes to be precise) and yet, achieves a deeper character analysis than the 1971 feature. The narrative develops in a perfect circle; Amy gathering mushrooms in the forest, McBurney being carried by the girls, the lens laid steady outside the main gate.

This version builds up a subtle tension in the atmosphere that facilitates our immersion into the era and the psych of those women. The stylised environment, the purity of nature and the beauty and innocence of the girls as demonstrated by their manners, their clothes and their lessons makes the unescapable decay even more painful.

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This adaptation of The Beguiled is elegant and flows with the ease of a fairytale on screen despite it being a dark and emotionally dry one. There isn’t enough drama stemming from the unfortunate sequence of events but the tension and tragic irony are effectively communicated. A great part in that plays the lack of a soundtrack, as the story is told in the silence of the Virginian countryside, with only the sound of nature (birds, wind, etc.) and the violent echo of cannons dressing the images.

There are comical elements dispersed into the narrative and the depiction of the characters too. For instance, Edwina in her silent torment and lazy movements may come across less tragic than intended and Miss Martha, being so self-conflicted and always pretending to be composed, blunt and austere might make you laugh. That is not to say that Nicole Kidman’s portrayal is a caricature of a religious, old maid. On the contrary, it is a flawless one and that’s why in her desperate state, we can perceive her repressed sensitivity as well as the ridiculousness of her behaviour.

Colin Farrell is an exceptional and gifted performer that can incorporate sensitivity, anger, pain and laughter in his act. His McBurney is particularly chivalrous and charming but also, a true chameleon that becomes instantly aware that his survival is strictly dependent on him choosing the right shades of colours to match the diverse expectations of his interlocutors.

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The scenes you’ll love…

The film is emotionally flat and visually delicate, leaving you with a sensation resembling the clean and soft taste of vanilla, enjoyable but not strong enough for your palate. Nevertheless, there are many intense scenes that anchor this period fairytale.

In fact, the scenes that draw the dynamic among the women in relation to their handsome guest are a pleasure to watch. One of my favourite scenes is the apple pie dinner scene where all of them strive to earn McBurney’s affections in the most naïve and foolish manner.

The scene where Corporal McBurney attempts to get closer to Miss Edwina by diving into her psychological portrait and giving flesh to her fantasy of an empathic and romantic lover. The trembling hands, the facial expressions betraying her agony and the shattered voice when admitting that her greatest wish is to be taken away from that soul-draining place are only a few elements of Kirsten Dunst’s performance that prove how incredible an actress she is.

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Another remarkable scene is the bizarrely erotic sponge bath Miss Martha gives to McBurney. Nicole Kidman’s careful pauses and heavy exhalations show how incredibly hard is to be a constant judge of one’s true self. I wouldn’t say that Miss Martha is facing a dilemma because unlike Edwina, she made the choice between duty and desire a long time ago. Of course, her cold masquerade is in fact transparent and underneath it defenseless lay her needs and desires, ready to be triggered by McBurney’s presence and deliberate charm.

Towards the end comes the scene where Jon confronts the “butchers” and it’s an impressive and painful act followed by Edwina’s meaningful and passionate apology.

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So who is the beguiled in this story?

I don’t believe that the ladies are deceived by McBurney. They are all certainly aroused and seduced by him but it happened due to his playful nature and not with a malicious intent.

It is perhaps McBurney who should be considered the beguiled character in this story because he was misled by the graceful women who welcomed and admired him, only to wake up one morning with no second leg, or their sympathy.

I bet that the majority of women watching the film will sympathise with McBurney on how cruelly he was treated. Jon is man that received great attention and an equal amount of temptation so he acted as nature intended. He is not a bad man or deceitful but simply playful and flirty. The ladies however, turned from innocent admirers to vicious and “vengeful bitches” when he became a threat. Nonetheless, at that time women had no power to display and many hazards to look out for, and it is well known that fear mixed with frustration make the deadliest cocktail.

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Some might argue that it is self-preservation that led them to murder but it is certainly more than that. They had the option of reconciliation but instead chose to complete his punishment and send him off for the long journey.

The turning point for the tragedy was the decision to deprive him of his limp and the reasons behind Miss Martha’s action and Edwina’s silent participation are ambiguous. The amputation could be a metaphor for the castration that women secretly desire to perform on men as the apogee of their punishment for having been oppressed by them physically, mentally, socially and sexually for centuries.

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In contrast, it could be a broader critic on the cruelty and menace that rejection brings out in every human being, irrespective of gender. Men could have performed a different but equally harsh punishment to the woman who after having toyed with their feelings choice the bed of a much younger man. Similarly, had it been a male school and a Joanna instead of Jon, the antagonistic, young boys would have conspired to get rid of her after her fall from their grace.

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After the film you might want to talk with a Southern accent, eat apple pie or/and mushrooms, admit it’s useful to know how to stitch nice & even, look up how many poisonous mushrooms exist (and naturally, avoid them for a while for no actual reason…), you might be extra careful when walking up & down the stairs and finally, imagine an alternative ending in which the heroines decide they definitely need a gardener and also, learn how to share.