|November 25th, 2020||#1|
Join Date: Dec 2003
Ammonite, Bring Him Home, Mank...Hollywood's latest
I've been hitting the movie theaters. They're still ghost towns, and a film might open with 2 million on opening night...where it used to be 50 million, and I doubt those days are coming back soon.
I usually watch the 'intelligent' movies, and here are three:
Ammonite, starring Kate Winslet as Mary Anning, an 1840's fossil hunter in England. It seems a perfect Covid movie. Lots of isolation, spare dialogue, and a single life. Into Mary's world comes a male amateur fossil hunter. She doesn't like him, nor his wife (Saoirse Ronan), and the man dumps her with Mary. He's a male chauvinist jerk, but isn't in the film long. The movie is a study of Winslet and Ronan bonding. Lesbianism is the result, which is typical these days; a period film without same sex seems verboten. There is no historical evidence Mary was lesbian, but Larry Watson, the director, seemed to tell it that way.
As it is, I found it an interesting film and evocative in capturing isolation and dedication in scientific work. The acting by Winslet and Ronan sells the film, and I'm a big fan of Ronan; she's a kind of Taylor Swift for us serious aryans, although I wonder when she'll turn, like Swift did...or at least be forced to
show multicultural roots to keep her job.
Let Him Go is a modern western noir, where Diane Lane and Kevin Costner are a married couple in 1960 Montana, and are happily married. Thank God no Brokeback Mountain here, but when their daughter-in-law disappears with their grandchild, Lane wants to bring him back, making them meet with the husband's family, led by a ruthless and catty Blanche; sort of a North Dakota Ma Barker with her own nest of sullen, wild boys.
The film is a battle between Lane and Blanche; men seem to be an after thought, like in Ammonite. A film that starts like a Hallmark film becomes violent and psycho; it's a lot like Winter's Bone, although not as good, but the scenery is impressive as the period recreation. So desolate. Any VNNers live up there? is it really that blank looking?
I also noted the typical Hollywood script: people in the west, small towns, etc., are always psycho, resentful, and trying to hide something; it's pretty much the standard Hymiewood view of us out in Deplorable land, but I liked the movie, and the acting kept it going.
There is, of course, a good Indian who was damaged by a white school, but he's kind of ineffectual, and what's western, even a noir one, without Indians?
Mank, the latest film I saw, is about Herman Mankiewicz, the screenwriter who wrote Citizen Kane (although Welles claimed he write it), and is in black and white. It's at turns interesting and a tad windy, showing 'Mank' as he is called, writing the script with tons of flashbacks on life in Hollywood, union troubles, the Republicans getting help from Louie B. Mayer fighting socialists (Californians FIGHTING socialism; boy, those were the days), and of course William Hearst and Mank, Hearst's wife Marion Davies between two of them, and...Mank. Being brilliant, drunk, smoking a ton of cigarettes, wise and...yes, I said drunk. But the 20's-30's was the age of the wise drunk.
Gary Oldman is Mank, Amanda Seyfried is Marion, Charles Dance Hearst.
It was a bit pretentious, but enjoyable here and there. As one critic said, Hollywood loves making pictures about Old Hollywood, although no one outside of Hollywood cares anymore.
Also, it shows you Jews. Everywhere.Here there's no question they are the essence, and Mank was the man who said to his friends in New York to 'come to Hollywood; your only competition here are idiots.' Mankiewicz was considered a brilliant writer, but in the film, he seems to be a guy who makes a lot of smarmy, semi-witty wisecracks that's taken as wisdom...pure Hollywood. Again, I sense the Jewish self-consciousness on how great and important they are, especially getting people to buy into the onscreen dreams called movies.
Also, noted Mank was a new release, and on the second night only nine people were in the theater. It's sobering, but I don't mind seeing Hollywood take a hit.
So, these are three 'serious' films; free of niggers (Whew), two, like most films, now feminine heavy, with men in the backstage, and Mank shows you the Jew-heavy world, but that's a good thing; they aren't hiding it much anymore.
A good few days filmgoing; now, back to books.