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This is the blog where I talk about the latest movies I've seen. These are my two Schnauzers, Rufus (left) and Marley (right, RIP). As of now, the Double Hollywood Strikes are officially over. May the next strikes not last as long as these ones did.

Tuesday, January 7, 2025

Blitz

This past weekend, Apple offered its account holders free access to Apple TV+. Since I still have the Apple account I created from my past Apple TV subscription, I knew I had to watch something. In fact, I already knew what it was.

That would be Blitz, Steve McQueen's World War II drama that premiered theatrically and on Apple TV+ a few months ago. I've heard it hyped for quite a bit, so let's finally see how it is.

In 1940, young George Hanway (Elliot Heffernan), who is biracial, lives happily in London with his mom, Rita (Saorise Ronan) and Granddad Gerald (Paul Weller). When The Blitz starts that September, George is among the thousands of kids evacuated to the English countryside. George refuses to acknowledge his mother when she says goodbye at the station, and we're left with his long and resentful blank stare as the scene fades away.

A short time later, George gets homesick, so he jumps off the train and gets going back to London. He meets a few interesting characters, including a sinister couple, Albert (Stephen Graham) and Beryl (Kathy Burke), who get George to help them steal from bombed-out buildings. Meanwhile, Rita does her patriotic duty as a munitionette and a shelter volunteer. All the while, the Nazi war machine continues to rain down on Great Britain. Will there be a happy ending?

This is basically a Dickensian story set during World War II, only without a massive length. George spends the movie meeting one new character - or a set of them - then moves on to the next. Before the aforementioned Fagin-esque crooks, George first meets a trio of young train-hopping brothers. They're all likable lads, who initially tease George with some light nursery rhyming. Indeed, it's a shocking swerve when the oldest brother is abruptly run over by a train. That's followed by him meeting Ife (Benjamin Clementine), a Nigerian MP who helps George accept his racial identity. He's a pretty good guy, but he's also too good to last to the end.

We don't see anyone get blown up, but we do feel the dread in the air. There's an extended party scene at a nightclub, all but stated to be the Cafe de Paris, just before everyone hears a bomb falling. In the next scene, Goerge is scavenging the bombed-out nightclub with Albert's gang. A few other scenes see sheltering Londoners listen to The Blitz, with each bomb threatening their Underground shelter. It's this sense of constant dread that got its sound designers a spot on the Oscar-shortlist, and perhaps a nomination. Its opening act, which shows the chaos during the first attack, would be a great scene to show the Sound Branch.

That same dread accentuates George's journey rather well. His jumping off the train is quite reckless, but we also understand why he did it. His first scavenging mission is at a jewelry shop that sounds like it might completely collapse any second. While I said we don't see anyone blown up, George flees as bombs explode around him during an attack and is later caught up in the Balham Tube Flood. Besides The Blitz, he also deals with the frighteningly loathsome and unstable Albert and his cronies. Heffernan's compelling performance keeps us invested in George's odyssey during the two-hour runtime. 

What about the adults? Well, Rita is just as compelling as her son, especially when she tells off some government bigwigs for letting George escape and does the same to her stingy boss. We only see George's dad, a Grenadian immigrant named Marcus (CJ Beckford) for one long flashback, before he's unfairly taken away from the movie. He still makes an impression as a likable guy. A few more sympathetic characters include Jess (Mica Ricketts), and oddly enough, Ruby (Heather Craney). Jess, who is basically Albert's talent scout, recruits George in the gang, and clearly hates doing so. Ruby, meanwhile, nurses George back to health after the Tube Flood and reports him to the authorities. I'd like to hope she was obliviously acting on the best of intentions.

What else can I say about it? I had little trouble with Ife & shelter supervisor Mickey Davies's (Leigh Gill) "we're all in this together" speeches, other than that they were a bit blunt. There are a few random scene transitions, including a field of flowers that lack context, while the balancing act between George and Rita's storylines is a bit off. I mean, it takes over an hour before we see Rita learn of George's escape. Rita's also an aspiring singer, but that barely goes anywhere, other than her getting to sing the admittedly nice and Oscar-shortlisted Winter Coat for the BBC. While McQueen wrote the song with Nicholas Britell & Taura Stinson, the also-shortlisted Hans Zimmer provides the intense score.

Blitz was clearly made with the best of intentions. Fortunately, these intentions give us a pretty good war drama. Its story of survival is compelling, while its scattershot and bluntest elements are barely a detriment. And yes, to answer the earlier question, there is a happy ending, but I won't spoil how it plays out. The only way for you to know is if you check it out on Apple TV+ yourself. As I said last year, I might get back to it if I'm feeling secure about my finances. All that said, I think I might check out the movie again if I get back on the service. I think it's worth some of the hype. 

Now, to the next review.

Monday, January 6, 2025

Maria

 For the third of his “accidental trilogy” of 20th-century women, Pablo Larrain presents us Maria, his biopic of the opera soprano Maria Callas. Let's open the curtains and see what we learn.

The film begins with her death on September 16, 1977. It then works through Maria’s (Angelina Jolie) last week as she reminisces about her life with Mr. Mandrax (Kodi Smit-Mcphee), a journalist and the personification of her favorite medication. Yes, really. 

By this point, a lifetime of substance abuse and a diagnosis of dermatomyotosis (which isn’t named in the film) have sidelined Maria. Mandrax follows Maria as she trains with conductor Jeffrey Tate (Stephen Ashfield) for a stage comeback. Mandrax doesn’t like her odds, though; he actually tells her his new documentary is called “La Callas: The Last Days.” Hopefully, she can sing again even if it’s the last thing she does.

Throughout the film, we see glimpses of Maria’s roles in such operas as Madame Butterfly and Anna Bolena. These performances showcase not just the scores of those operas, but the elaborate costumes and sets designed by Massimo Cantini Parrini and Guy Hendrix Dyas. The cinematographer, Edward Lachman, sells us on the magnificence of these performances, though I wasn’t keen on him shooting from the back row a few times. One such case is her first scene at Tate’s stage; I had a hard time figuring out where she was when she came in. I’ll highlight the sound portion later on.

Her most significant flashbacks involve her affair with Aristotle Onassis (Haluk Bilginer). Bilginer portrays Onassis as a charming scoundrel with emphasis on scoundrel. We get some nice scenes of them together, including a well-acted bit where she sees him on his death bed. In the present, her butler Ferrucio (Pierfrancesco Favino) and housekeeper Bruna (Alba Rohrwacher) enliven the film with their devotion not just to her, but to each other. Maria herself even points that out.

And now, “La Callas” herself. As played by Jolie, Maria doesn't need much to show off her strong personality. Early on, she politely, and sternly, declines Mandrax's inquiry on why she burned her costumes one time. He backs down, but she alludes to an answer anyway. She frequently denies her friends and doctor's (Vincent Macaigne) advice, but deep down, she might already know she needs help. She hallucinates, among other things, a crowd singing the Anvil Chorus from IL Trovatore at her. What is surely her dying dream has her breaking down while finally giving her comeback performance at her apartment. It takes quite a while for Jolie's performance to resonate, but I think it will. The only thing stopping her from an Oscar nomination is her huge competition.

The film has Jolie lip-synching to Callas's recordings, with occasionally herself singing, though it's sometimes hard to tell which is which. The recordings sound great, but there are some obvious discrepancies between sound and visuals that pop up. At one point, Maria and Onassis attend Marilyn Monroe's famous birthday serenade of JFK (once again, Caspar Phillipson), which also has her actress lip-synch to a recording. We hear the crowd cheer before we see them do it. Oops. Again, the shoot from the back row strategy doesn't do some of these performances any favors.

I saw the movie on January 2nd, and it took me until now to type up this review. On my first watch, Maria was so dour that the only thing that moved me was the sound of her poodles whimpering over her corpse. But underneath the dour ending, there's a compelling arc of Maria regaining her former self before it's too late. I wonder if I'm the only one who realizes it. If you just want a great opera highlight reel, you won't be disappointed when you Netflix and chill with this biopic. It doesn't need fancy sound systems to sound great, that's for sure.

 Next up, a review produced under interesting circumstances.