Friday, November 15, 2002
RANDOM MUSINGS - As much as I hate to interrupt this Movie Club discussion of '8 Mile' (see posts below), which has been great fun I should add, I wanted to throw out a couple of observations. First, before seeing 'Femme Fatale' Monday night -- yeah, yeah, comments are coming soon -- there were three trailers that all looked promising. I'm not sure, but that has to be a first. I don't think I've ever been to a movie where all three trailers got me intrigued. The first was for 'Dreamcatcher', a Stephen King adaptation that isn't scheduled for release until April 4, 2003. You can learn everything you want to know about the movie at Greg's Previews, but I thought the trailer was surprisingly creepy. The film stars Morgan Freeman, Thomas Jane (who was great as Mickey Mantle in HBO's '*61', Tom Sizemore (I thought he had it written in his contract he could only play soldiers or cops?) and Timothy Olyphant. It's nothing I'm going to rush out and see, mind you, but compared to more recent King adaptations, this one could be decent -- especially when Lawrence Kasdan is directing and William Goldman is writing. Watch the trailer here. The second trailer was for 'The Recruit' (Jan. 31, 2002), a spy movie featuring Al Pacino, Colin Farrell and Bridget Moynahan. Basically, Pacino plays a CIA recruiter who taps Farrell to undergo training and become a secret agent. Moynahan plays Farrell's love interest who just may or may not be a double agent. From the trailer, Pacino seemed to be restraining himself -- none of the Col. Slade braggadocio were so accustomed to now -- and I'll always give Farrell the benefit of the doubt since 'Tigerland', even though his performance in 'Minority Report' was dreadfully irritating. But as I said here, that was more Spielberg's fault, not Farrell's. My one problem is that, as usual with most trailers these days, I think it gave too much away -- too much backstabbing and deception is revealed for a trailer. Why give it all away. Check it out for yourself here. Finally, there was the preview for Spike Jonze's 'Adaptation' (12/6 limited), written by 'Being John Malkovich' scribe Charlie Kauffman. If you're familiar with the movie at all, then you know about its somewhat complicated, deliciously post-modern plot, but here is a quick version from Greg's Previews: It's based on "the nonfiction novel, The Orchid Thief, by Susan Orlean, which is itself based upon a true story. The movie is also, oddly enough, based upon Charlie Kaufman's attempts to adapt the novel. That this book in particular is the object of Kaufman's adaptation may not be coincidental, as the novel is described as Susan Orlean's own journey to tell John Laroche's story. So, this movie is an adaptation (by Jonze) of a writer's (Kaufman's) adaptation, of a novel (by Orlean), which was based upon a true story (Laroche)." Got all that? An overweight, semi-afro-headed Nicolas Cage plays a dual role as both Charlie Kauffman (yes, the actual screenwriter is the main character) and his brother Donald. Meryl Streep and Chris Cooper also star. It should be one of the best films of the year -- oops, gotta watch those expectations. Watch the trailer here. * 'Harry Potter and The Chamber of Secrets' is garnering the same critical adoration as the first, 81% fresh on Rotten Tomatoes, with many critics saying it's better than the first. I found the 'Sorcerer's Stone' to be tedious and boring, but then I'm not the target demo. Just as he did with the original, Roger Ebert gave 'Chamber' 4 stars. "The second in a planned series of seven Potter films is brimming with invention and new ideas, and its Hogwarts School seems to expand and deepen before our very eyes into a world large enough to conceal unguessable secrets." Sorry Rog, still not going to bother.
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MOVIE CLUB: 8 MILE
From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: In Defense of Good Acting
Just as watching a movie is a subjective experience, watching a performance in a movie is subjective as well. I like all sorts of movies, and if there's anything my favorite movies have in common, it's that they offer some element of surprise. That "surprise" has come in countless guises and has been the work of actors, writers, directors, composers, editors and cinematographers. But particularly actors. I am always surprised by an actor's honesty, whether it be comic or tragic. Great actors tell it like it is. But even this is a point of contention. I didn't believe Eminem in "8 Mile." Many people do (including Eric and Adam). As a point of reference, I think Al Pacino "lied" his way through most of the movies he's done in the 90s, including the film he won his only Oscar for (and excluding "Glengarry Glen Ross" and "The Insider"). "Lying" in a performance is different from "phoning in" a performance. I admire Eminem's effort in "8 Mile." I think he was very brave to take it on. But I don't think he was prepared to give as much of himself as he may have thought he was. To respond to Ben's opinion in the Feedback Forum: there may be exceptions, but a performance in a video is not acting. It's a performance. And it relies completely on a performer's charisma, which, as I mentioned in my initial thoughts on "8 Mile," Eminem has to spare. There are "actors" who build their careers on charisma and I don't think there's anything wrong with that (Brad Pitt, John Travolta, Mel Gibson, John Cusak). All of these guys are usually fun to watch as long as they're playing variations of their film personalities; but put them in a film that requires an honest emotional commitment and they just can't pull it off. Acting is hard. Being an honest actor is harder still. I don't blame De Niro for taking on all of these comedies as he moves into his golden years; he probably took years off his life for his performance in "Raging Bull" alone. Besides, I love "Meet the Parents." Bring on the sequel. As to my ranking of "8 Mile" the #13 movie of the year (and I actually ranked it #11, which puts it smack in the middle of all the films I've seen this year), which Ben asks me about in the Feedback Forum: the bottom half of my list contains 7 films that that I thought stunk; the 3 films between "8 Mile" and the films that get my vote as the worst movies of the year, sit behind "8 Mile" not because I enjoyed them less -- quite the opposite in all cases -- but because they were either more deeply flawed ("Panic Room" & "Spider-Man") and/or were just un-ambitious trifles ("My Big Fat Greek Wedding"). At the risk of outstaying my welcome in this post, I want to answer some of Adam's thoughts. I completely agree with his criticism of Andrew O'Hehir's top-ten explanation. To restrict a top-ten list to films you want to see again is limiting. I thought "Happiness" was a great movie, but, even after two years, I'm still not thrilled with the idea of revisiting it. At the same time, a film like that is the exception, and it would have made it on my top-ten list. And for the record, I think "In the Bedroom" is a flawed movie with some really good performances. And I probably would have left it off my list just like O'Hehir (and maybe that's why I responded with so much enthusiasm to his explanation). One more thing: I didn't like Basinger's performance as much as Eric, but I didn't hate it as much as Adam. I thought it was fine. A "5" on the lying scale (whatever that means). And Brittany Murphy was both dirty and strangely attractive. I love the connection Eric made between Murphy and Bonham Carter in "Fight Club." Right on the money. I think Murphy's a good actress. We'll see how she does on SNL tomorrow night.
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From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: In Defense of Good Acting
Just as watching a movie is a subjective experience, watching a performance in a movie is subjective as well. I like all sorts of movies, and if there's anything my favorite movies have in common, it's that they offer some element of surprise. That "surprise" has come in countless guises and has been the work of actors, writers, directors, composers, editors and cinematographers. But particularly actors. I am always surprised by an actor's honesty, whether it be comic or tragic. Great actors tell it like it is. But even this is a point of contention. I didn't believe Eminem in "8 Mile." Many people do (including Eric and Adam). As a point of reference, I think Al Pacino "lied" his way through most of the movies he's done in the 90s, including the film he won his only Oscar for (and excluding "Glengarry Glen Ross" and "The Insider"). "Lying" in a performance is different from "phoning in" a performance. I admire Eminem's effort in "8 Mile." I think he was very brave to take it on. But I don't think he was prepared to give as much of himself as he may have thought he was. To respond to Ben's opinion in the Feedback Forum: there may be exceptions, but a performance in a video is not acting. It's a performance. And it relies completely on a performer's charisma, which, as I mentioned in my initial thoughts on "8 Mile," Eminem has to spare. There are "actors" who build their careers on charisma and I don't think there's anything wrong with that (Brad Pitt, John Travolta, Mel Gibson, John Cusak). All of these guys are usually fun to watch as long as they're playing variations of their film personalities; but put them in a film that requires an honest emotional commitment and they just can't pull it off. Acting is hard. Being an honest actor is harder still. I don't blame De Niro for taking on all of these comedies as he moves into his golden years; he probably took years off his life for his performance in "Raging Bull" alone. Besides, I love "Meet the Parents." Bring on the sequel. As to my ranking of "8 Mile" the #13 movie of the year (and I actually ranked it #11, which puts it smack in the middle of all the films I've seen this year), which Ben asks me about in the Feedback Forum: the bottom half of my list contains 7 films that that I thought stunk; the 3 films between "8 Mile" and the films that get my vote as the worst movies of the year, sit behind "8 Mile" not because I enjoyed them less -- quite the opposite in all cases -- but because they were either more deeply flawed ("Panic Room" & "Spider-Man") and/or were just un-ambitious trifles ("My Big Fat Greek Wedding"). At the risk of outstaying my welcome in this post, I want to answer some of Adam's thoughts. I completely agree with his criticism of Andrew O'Hehir's top-ten explanation. To restrict a top-ten list to films you want to see again is limiting. I thought "Happiness" was a great movie, but, even after two years, I'm still not thrilled with the idea of revisiting it. At the same time, a film like that is the exception, and it would have made it on my top-ten list. And for the record, I think "In the Bedroom" is a flawed movie with some really good performances. And I probably would have left it off my list just like O'Hehir (and maybe that's why I responded with so much enthusiasm to his explanation). One more thing: I didn't like Basinger's performance as much as Eric, but I didn't hate it as much as Adam. I thought it was fine. A "5" on the lying scale (whatever that means). And Brittany Murphy was both dirty and strangely attractive. I love the connection Eric made between Murphy and Bonham Carter in "Fight Club." Right on the money. I think Murphy's a good actress. We'll see how she does on SNL tomorrow night.
MOVIE CLUB: 8 MILE (SORT OF)
From: Adam Kempenaar
To: Sam Hallgren; Eric Baker
Subject: Lists
I disagree with Eric's contention that Rabbit hasn't changed that much from the beginning of the film to the end. Besides the usual movie stuff about "discovering yourself," Rabbit has become a halfway responsible adult. He finally learns not to say, "It's not my fault," whenever something goes wrong in his life. As for Eric's final two points: 1) I don't know how hot she is, but Brittany Murphy is definitely the dirtiest dirty girl around now. 2) You call what Kim Basinger was doing -- with that cartoonish, transplanted Southern drawl -- "acting"? Apparently Eminem can't act because he was too subtle and beliebable for you. As for the list of the year's best, I don't usually keep track of the movies I've seen and start ranking them until the end of the year. It's such a curious and difficult process that I probably wouldn't do it at all except that the past two years I was producing them for The Daily Iowan, and this year I will surely come up with one for CS. I had never read Andrew O'Hehir's explanation of how he develops his lists -- which movies he most wants to watch again -- but I can honestly say it's the exact same criteria I use...with a slight modification: If both were on DVD at the same time and had the exact same special features, which one would I buy if I could only buy one? I actually try to envision myself in front of the DVD rack making my selection. At the same time, O'Hehir's reasoning becomes problematic because there are some movies that are so devastating to sit through that nobody in their right mind would be in a rush to see again soon. Does 'Schindler's List' not belong on a top ten list because I'm still not interested in watching it again? Same with 'In the Bedroom'. O'Hehir apparently didn't want to see it again, but when you're dealing with a movie about such weighty subject matter, you can hardly blame him. I do blame him, however, for leaving it off his list. It made mine at #3.
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From: Adam Kempenaar
To: Sam Hallgren; Eric Baker
Subject: Lists
I disagree with Eric's contention that Rabbit hasn't changed that much from the beginning of the film to the end. Besides the usual movie stuff about "discovering yourself," Rabbit has become a halfway responsible adult. He finally learns not to say, "It's not my fault," whenever something goes wrong in his life. As for Eric's final two points: 1) I don't know how hot she is, but Brittany Murphy is definitely the dirtiest dirty girl around now. 2) You call what Kim Basinger was doing -- with that cartoonish, transplanted Southern drawl -- "acting"? Apparently Eminem can't act because he was too subtle and beliebable for you. As for the list of the year's best, I don't usually keep track of the movies I've seen and start ranking them until the end of the year. It's such a curious and difficult process that I probably wouldn't do it at all except that the past two years I was producing them for The Daily Iowan, and this year I will surely come up with one for CS. I had never read Andrew O'Hehir's explanation of how he develops his lists -- which movies he most wants to watch again -- but I can honestly say it's the exact same criteria I use...with a slight modification: If both were on DVD at the same time and had the exact same special features, which one would I buy if I could only buy one? I actually try to envision myself in front of the DVD rack making my selection. At the same time, O'Hehir's reasoning becomes problematic because there are some movies that are so devastating to sit through that nobody in their right mind would be in a rush to see again soon. Does 'Schindler's List' not belong on a top ten list because I'm still not interested in watching it again? Same with 'In the Bedroom'. O'Hehir apparently didn't want to see it again, but when you're dealing with a movie about such weighty subject matter, you can hardly blame him. I do blame him, however, for leaving it off his list. It made mine at #3.
Thursday, November 14, 2002
MOVIE CLUB: 8 MILE
From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: The Best
Having fairly exhausted the subject of "8 Mile," which has proven to be a great first subject of our nascent movie club, I want to raise another subject with you guys. It was one of Eric's comments that got me thinking: that he doesn't rush out to see movies on the opening night. It got me thinking about my favorite movies of the year (which really has nothing to do with expectations or Eric's original comment). Since this past year's Oscars, I've been keeping a running tally of the films (released this year) that I've seen, and trying to keep them in a top-10 format. I've never done this before, and the more time that passes between the films I saw earlier in the year and the films I've seen recently, the more arbitrary my list seems. In order to be fair, I feel like I should see at least my top ten films all over again. Was "Roger Dodger" better than "The Dancer Upstairs" or "Punch Drunk Love"? Why was it better than "The Bourne Identity," which I enjoyed so much (and which is currently sitting at #5)? And what does it say about me that, of the two films I saw this weekend that were released in 2002 ("8 Mile" and "My Big Fat Greek Wedding"), I actually enjoyed myself more in the latter, but ranked the former three places higher (a fact I could easily, and without hypocrisy, defend)? The best explanation I've heard describing the logic that goes into creating top-ten lists was written by Salon film contributor Andrew O'Hehir. When he assembles his year-end ten-best list, he asks himself which movies would he most want to see again. He used this reasoning to defend his omission last year of "In the Bedroom" from his top-ten. I love this explanation. It may have flaws, but I have yet to hear a better one. There are 21 movies on my list. Eight of them I consider worth seeing again. I expect to see several more Oscar-eligible films before the end of February, more than enough to fill out my own top-ten. You have both assembled your own top-10 lists. Any insight on how you went about it?
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From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: The Best
Having fairly exhausted the subject of "8 Mile," which has proven to be a great first subject of our nascent movie club, I want to raise another subject with you guys. It was one of Eric's comments that got me thinking: that he doesn't rush out to see movies on the opening night. It got me thinking about my favorite movies of the year (which really has nothing to do with expectations or Eric's original comment). Since this past year's Oscars, I've been keeping a running tally of the films (released this year) that I've seen, and trying to keep them in a top-10 format. I've never done this before, and the more time that passes between the films I saw earlier in the year and the films I've seen recently, the more arbitrary my list seems. In order to be fair, I feel like I should see at least my top ten films all over again. Was "Roger Dodger" better than "The Dancer Upstairs" or "Punch Drunk Love"? Why was it better than "The Bourne Identity," which I enjoyed so much (and which is currently sitting at #5)? And what does it say about me that, of the two films I saw this weekend that were released in 2002 ("8 Mile" and "My Big Fat Greek Wedding"), I actually enjoyed myself more in the latter, but ranked the former three places higher (a fact I could easily, and without hypocrisy, defend)? The best explanation I've heard describing the logic that goes into creating top-ten lists was written by Salon film contributor Andrew O'Hehir. When he assembles his year-end ten-best list, he asks himself which movies would he most want to see again. He used this reasoning to defend his omission last year of "In the Bedroom" from his top-ten. I love this explanation. It may have flaws, but I have yet to hear a better one. There are 21 movies on my list. Eight of them I consider worth seeing again. I expect to see several more Oscar-eligible films before the end of February, more than enough to fill out my own top-ten. You have both assembled your own top-10 lists. Any insight on how you went about it?
MOVIE CLUB: 8 MILE
From: Eric Baker
To: Adam Kempenaar, Sam Hallgren
Subject: The Rap's The Thing
Could I get a word in edgewise, guys? It's amazing how much Adam and I share the same brain (and probably Sam too, though I've only met the guy once). Before seeing "8 Mile" and reading the Movie Club, I had the same "Rocky"/"Raging Bull" notions, as well as thoughts of Howard Stern's "Private Parts" as a baseline for comparison. I also like the discussion about how expectations can impact how one views a film. I have gotten to the point where there isn't any movie I rush out to see on opening night, with the exception of a David Lynch film, but with all the hype surrounding movies these days, it's impossible to go into a showing with a blank slate. I got pretty much what I expected with "8 Mile," which is to say an average movie. But if it had been as good as "Punch-Drunk Love," I would be fellating the film. First things first: as Sam indicates, Eminem can't act, but he doesn't really have to. Just like Howard Stern, who also cannot act his way out of a paper bag, he's not required to do anything but be himself. And the with the short chronology of Rabbit's life we are given, it really doesn't require much depth. Is there anything more cliche than the opening scene, where the protagonist takes stock of his situation by examining himself in the bathroom mirror, splashes some water on his face to ground himself, and somehow summons the strength to move on. Perhaps not, since director Curtis Hanson uses it again later in the movie. This is certainly not Hanson's best work, but one thing he always accomplishes is taking us to a place most of us have never been before and immersing in it. Still, watching the first half, it struck me on a gut level (setup for Adam) how the movie is just like an Eminem song: nothing is original, except the precise details of the story, just like Rabbit's lyrics in his "battles." The scenes are sampled, just like Eminem's songs for the soundtrack, sprinkled with differences here and there that make them easy to listen to/watch. I have no problem with this, but I think we can all agree the best parts of the movie are the "battles," and I got the notion too many times that the rest of the film was just buildup fodder for the Rocky-like sequences you guys have already mentioned. A major problem to overcome is that these cutting contests are freestyle art forms, and you are asking actors to replicate that intensity in a movie setting. At least Eminem supposedly has experience with these battles, but there is something irresistably innocent about the documentary "Scratch" that isn't there with "8 Mile," which is perhaps the scratching opposed to hurling vicious insults at your opponent. Deep down that probably influences my opinion of this film more than I care to admit. After watching it, much like reading an article in the Iowa City Press-Citizen or the Chicago Tribune's RedEye, I have to ask 'so what; why should I care?' Because it's Eminem? Because he's famous? Because he's the only one who apparently likes his little sister (tell me that's not a transparent script choice)? Because he's the only white guy in the movie (remember suburban white kids are the target demographic)? Or is it, as I suspect, because Eminem displays the same sense of street justice that made Allen Iverson more popular after he beat his wife? It's probably a moot point for most viewers, but I see no difference between the Rabbit in the beginning of the film and the end, except that he had the cajones to step on stage and deliver. In fact, once I know the Rabbit by the end of the movie, I think he's kind of a dick, which makes me not give a damn how he does. But I suppose there's something to be said for the ambiguity of the ending, as Adam points out. Two final notes: 1) Has Brittany Murphy overtaken Helena Bonham Carter as the hottest dirty, dirty girl in movies? (Memo to Joe Horaney: Am I alone on this?); and, a point I haven't noticed either of you guys mention 2) Kim Basinger can really act in this movie. Granted, she only gets about 15 minutes of face time, but she delivers the goods.
-Peace out
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From: Eric Baker
To: Adam Kempenaar, Sam Hallgren
Subject: The Rap's The Thing
Could I get a word in edgewise, guys? It's amazing how much Adam and I share the same brain (and probably Sam too, though I've only met the guy once). Before seeing "8 Mile" and reading the Movie Club, I had the same "Rocky"/"Raging Bull" notions, as well as thoughts of Howard Stern's "Private Parts" as a baseline for comparison. I also like the discussion about how expectations can impact how one views a film. I have gotten to the point where there isn't any movie I rush out to see on opening night, with the exception of a David Lynch film, but with all the hype surrounding movies these days, it's impossible to go into a showing with a blank slate. I got pretty much what I expected with "8 Mile," which is to say an average movie. But if it had been as good as "Punch-Drunk Love," I would be fellating the film. First things first: as Sam indicates, Eminem can't act, but he doesn't really have to. Just like Howard Stern, who also cannot act his way out of a paper bag, he's not required to do anything but be himself. And the with the short chronology of Rabbit's life we are given, it really doesn't require much depth. Is there anything more cliche than the opening scene, where the protagonist takes stock of his situation by examining himself in the bathroom mirror, splashes some water on his face to ground himself, and somehow summons the strength to move on. Perhaps not, since director Curtis Hanson uses it again later in the movie. This is certainly not Hanson's best work, but one thing he always accomplishes is taking us to a place most of us have never been before and immersing in it. Still, watching the first half, it struck me on a gut level (setup for Adam) how the movie is just like an Eminem song: nothing is original, except the precise details of the story, just like Rabbit's lyrics in his "battles." The scenes are sampled, just like Eminem's songs for the soundtrack, sprinkled with differences here and there that make them easy to listen to/watch. I have no problem with this, but I think we can all agree the best parts of the movie are the "battles," and I got the notion too many times that the rest of the film was just buildup fodder for the Rocky-like sequences you guys have already mentioned. A major problem to overcome is that these cutting contests are freestyle art forms, and you are asking actors to replicate that intensity in a movie setting. At least Eminem supposedly has experience with these battles, but there is something irresistably innocent about the documentary "Scratch" that isn't there with "8 Mile," which is perhaps the scratching opposed to hurling vicious insults at your opponent. Deep down that probably influences my opinion of this film more than I care to admit. After watching it, much like reading an article in the Iowa City Press-Citizen or the Chicago Tribune's RedEye, I have to ask 'so what; why should I care?' Because it's Eminem? Because he's famous? Because he's the only one who apparently likes his little sister (tell me that's not a transparent script choice)? Because he's the only white guy in the movie (remember suburban white kids are the target demographic)? Or is it, as I suspect, because Eminem displays the same sense of street justice that made Allen Iverson more popular after he beat his wife? It's probably a moot point for most viewers, but I see no difference between the Rabbit in the beginning of the film and the end, except that he had the cajones to step on stage and deliver. In fact, once I know the Rabbit by the end of the movie, I think he's kind of a dick, which makes me not give a damn how he does. But I suppose there's something to be said for the ambiguity of the ending, as Adam points out. Two final notes: 1) Has Brittany Murphy overtaken Helena Bonham Carter as the hottest dirty, dirty girl in movies? (Memo to Joe Horaney: Am I alone on this?); and, a point I haven't noticed either of you guys mention 2) Kim Basinger can really act in this movie. Granted, she only gets about 15 minutes of face time, but she delivers the goods.
-Peace out
Wednesday, November 13, 2002
MOVIE CLUB: 8 MILE
From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: Sam's Big Fat Weekend
When it comes right down to it, I don't think we disagree very much about this film. Eminem's performance worked for you; it didn't work for me. And because he's the central character, that became a very big problem for me. But I respect the film. I admire the way Hanson and Silver kept the movie from following a typical Hollywood arc, and I liked all of the other performances in the film. All of these things I think we agree on. "8 Mile" has entered my movies of the year list at #13, just behind "Changing Lanes" and "Minority Report" and just ahead of "Spider-Man" and "Panic Room." I mentioned in an email to you that I finally saw "My Big Fat Greek Wedding." If expectations can seriously impact a critic's objectivity, surely the venue and context of the viewing can have an impact as well. I saw "Fat Wedding" in bed with my girlfriend, in a four-star hotel room in the Chicago Loop (it was our two year dating "anniversary"). All films should be seen in such a forgiving environment. I thought the film was cute. I found the lead, Nia Vardalos, a little stagey (like she hadn't quite shed the character she created for the stage), but still charming. And I liked John Corbett. You mentioned in your review (9/3) that he was a little too perfect, that there was just no flaw to his character. I agree. But I liked the way he played it. He seemed to be subtlely commenting on his character's perfection, without losing any sincerity. Basically, he stayed out of the movie's way, which was his job. And it looked like he was enjoying himself. Andrea Martin as Aunt Voulna was hilarious, and made even her most schticky lines ("You're a vegetarian? I'll make lamb.") work. Martin, and the actors who played Vardalos' parents, were particularly good about playing the reality of the situation, even as the rest of the movie (including Vardalos) not infrequently moved into the realm of sketch comedy. I agree with you that it's not so surprising that the film has resonated with audiences, but it is certainly an inexplicable wonder that it has made so much money --nearly $200 million. I have heard critics bemoan the success of the film for fear of how Hollywood will respond to it. Maybe I'm missing something, but has Hollywood ever needed an excuse to make bad movies?
From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: Sam's Big Fat Weekend
When it comes right down to it, I don't think we disagree very much about this film. Eminem's performance worked for you; it didn't work for me. And because he's the central character, that became a very big problem for me. But I respect the film. I admire the way Hanson and Silver kept the movie from following a typical Hollywood arc, and I liked all of the other performances in the film. All of these things I think we agree on. "8 Mile" has entered my movies of the year list at #13, just behind "Changing Lanes" and "Minority Report" and just ahead of "Spider-Man" and "Panic Room." I mentioned in an email to you that I finally saw "My Big Fat Greek Wedding." If expectations can seriously impact a critic's objectivity, surely the venue and context of the viewing can have an impact as well. I saw "Fat Wedding" in bed with my girlfriend, in a four-star hotel room in the Chicago Loop (it was our two year dating "anniversary"). All films should be seen in such a forgiving environment. I thought the film was cute. I found the lead, Nia Vardalos, a little stagey (like she hadn't quite shed the character she created for the stage), but still charming. And I liked John Corbett. You mentioned in your review (9/3) that he was a little too perfect, that there was just no flaw to his character. I agree. But I liked the way he played it. He seemed to be subtlely commenting on his character's perfection, without losing any sincerity. Basically, he stayed out of the movie's way, which was his job. And it looked like he was enjoying himself. Andrea Martin as Aunt Voulna was hilarious, and made even her most schticky lines ("You're a vegetarian? I'll make lamb.") work. Martin, and the actors who played Vardalos' parents, were particularly good about playing the reality of the situation, even as the rest of the movie (including Vardalos) not infrequently moved into the realm of sketch comedy. I agree with you that it's not so surprising that the film has resonated with audiences, but it is certainly an inexplicable wonder that it has made so much money --nearly $200 million. I have heard critics bemoan the success of the film for fear of how Hollywood will respond to it. Maybe I'm missing something, but has Hollywood ever needed an excuse to make bad movies?
MOVIE CLUB: 8 MILE
From: Adam Kempenaar
To: Sam Hallgren; Eric Baker
Subject: Which one is Casey Affleck?
Eric promises to deliver a post sometime this afternoon, which will be nice because the two of us have probably taken this discussion as far as it can go. It is refreshing though to see that we're no longer sharing a brain after agreeing on 'The Good Girl', 'Roger Dodger' and 'Punch-Drunk Love'. You say '8 Mile' felt "inevitable," and it definitely did -- from most of the characters (each one of Rabbit's friends could be substituted in for Will's friends in 'Good Will Hunting'; try it, it works), to the plot (the movie opens with him choking badly on stage at the battle; it doesn't take Syd Field to figure out how the movie is going to end). But despite its familiarity and predictability, '8 Mile' never felt too Hollywood to me. Hanson doesn't bludgeon us with the movie's 'believe in yourself and you shall overcome' theme, and, as I mentioned before, the somewhat ambiguous ending keeps it from being too uplifting. Two other minor points of contention: Other than sexually, you don't see why Rabbit is attracted to Alex, played with perfect trashiness by Brittany Murphy. You mean, other than the fact that they both have big dreams and want to get out of Detroit? I thought the "7:30 in the morning" line worked in that moment because that particular line of dialogue always seemed to me from the trailers to be the kind of thing nobody in real life says, but sounds great in a movie. So to soften the blow a bit, Silver decided to add some levity. It worked for me, anyway. I saw 'Femme Fatale' last night and plan to have some comments soon. I also still need to discuss the last three movies I saw at the Chicago Film Fest -- the music documentaries 'Tribute' and 'Only The Strong Survive' and Philip Noyce's 'Rabbit-Proof Fence', a movie I actually forgot that I had seen until I drove by a theater the other day and saw the poster. Crazy, too, considering how fascinating the story is.
-CS
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From: Adam Kempenaar
To: Sam Hallgren; Eric Baker
Subject: Which one is Casey Affleck?
Eric promises to deliver a post sometime this afternoon, which will be nice because the two of us have probably taken this discussion as far as it can go. It is refreshing though to see that we're no longer sharing a brain after agreeing on 'The Good Girl', 'Roger Dodger' and 'Punch-Drunk Love'. You say '8 Mile' felt "inevitable," and it definitely did -- from most of the characters (each one of Rabbit's friends could be substituted in for Will's friends in 'Good Will Hunting'; try it, it works), to the plot (the movie opens with him choking badly on stage at the battle; it doesn't take Syd Field to figure out how the movie is going to end). But despite its familiarity and predictability, '8 Mile' never felt too Hollywood to me. Hanson doesn't bludgeon us with the movie's 'believe in yourself and you shall overcome' theme, and, as I mentioned before, the somewhat ambiguous ending keeps it from being too uplifting. Two other minor points of contention: Other than sexually, you don't see why Rabbit is attracted to Alex, played with perfect trashiness by Brittany Murphy. You mean, other than the fact that they both have big dreams and want to get out of Detroit? I thought the "7:30 in the morning" line worked in that moment because that particular line of dialogue always seemed to me from the trailers to be the kind of thing nobody in real life says, but sounds great in a movie. So to soften the blow a bit, Silver decided to add some levity. It worked for me, anyway. I saw 'Femme Fatale' last night and plan to have some comments soon. I also still need to discuss the last three movies I saw at the Chicago Film Fest -- the music documentaries 'Tribute' and 'Only The Strong Survive' and Philip Noyce's 'Rabbit-Proof Fence', a movie I actually forgot that I had seen until I drove by a theater the other day and saw the poster. Crazy, too, considering how fascinating the story is.
-CS
Tuesday, November 12, 2002
MOVIE CLUB: 8 MILE
From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: Alcoholics and retards
I couldn't agree more with your disdain for "Oscar Winning Moments." I only use the expression to describe my feeling that Eminem's performance left no impression on me (with the exception of the performance scenes). I agree that he has charisma. But his performance seemed edited to me. They got the takes from him they needed to piece the story together, but there didn't seem to be a continuity to the performance. There was no subtlety to his performance. And this film demanded subtlety. I think he would have been a sensation as a supporting player in this film, or in another film that could take better advantage of his aggression and wit. To construct a whole film on his undeniable charisma was too much to ask. But that's my opinion. I like your "Raging Bull" homage theory. (I loved the opening scene). I recognized the boxing metaphors myself, but didn't articulate them cinematically. And maybe if I had I would have been able to stomach the face-off that took place during the final scene. It was just too long, too staged. I think Hanson is a smart director, and I appreciated the ambiguities of the story. But the movie never took off for me. I liked the "I'll never tell" girl, but didn't understand Rabbit's attraction to her (other than sexually) at the beginning, or his loyalty to her later. There was no complexity to Eminem's portrayal of the character; we were shown the people in his life, we were given a context to his misery, but unlike De Niro's performance as LaMotta, we got no sense of the origins of his irrational behavior. The part demanded complexity, and Eminem gave us surface. Charismatic surface, enough surface to tell the story, but not enough to give the story soul. Another difference between "8 Mile" and "Raging Bull" is that "8 Mile" isn't a tragedy; it's a redemption story, much more like "Rocky." In the end, it sits somewhere in the middle of the two films. Not a tragic biopic, not a redemptive, rousing drama. It felt inevitable. The drunk mom, the trailer park, the white skin, the lying, betraying friends. They seemed more picaresque than anything else. Not a real threat. Only one time did I get a hint of Rabbit's real struggle, of how close he was to giving up: he's getting dropped off at work by a friend and he says something like "Do you ever think it's time to stop dreaming up here; and start living down here." A total paraphrase, but it's a very true moment in the film, an insight into the character that I didn't see anywhere else. Instead of expanding on it, letting it sit there to have its effect on the audience, they use it as an opportunity to joke: "It's 7:30 in the morning, Rabbit." Moment lost. Reality shattered. Too bad.
From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: Alcoholics and retards
I couldn't agree more with your disdain for "Oscar Winning Moments." I only use the expression to describe my feeling that Eminem's performance left no impression on me (with the exception of the performance scenes). I agree that he has charisma. But his performance seemed edited to me. They got the takes from him they needed to piece the story together, but there didn't seem to be a continuity to the performance. There was no subtlety to his performance. And this film demanded subtlety. I think he would have been a sensation as a supporting player in this film, or in another film that could take better advantage of his aggression and wit. To construct a whole film on his undeniable charisma was too much to ask. But that's my opinion. I like your "Raging Bull" homage theory. (I loved the opening scene). I recognized the boxing metaphors myself, but didn't articulate them cinematically. And maybe if I had I would have been able to stomach the face-off that took place during the final scene. It was just too long, too staged. I think Hanson is a smart director, and I appreciated the ambiguities of the story. But the movie never took off for me. I liked the "I'll never tell" girl, but didn't understand Rabbit's attraction to her (other than sexually) at the beginning, or his loyalty to her later. There was no complexity to Eminem's portrayal of the character; we were shown the people in his life, we were given a context to his misery, but unlike De Niro's performance as LaMotta, we got no sense of the origins of his irrational behavior. The part demanded complexity, and Eminem gave us surface. Charismatic surface, enough surface to tell the story, but not enough to give the story soul. Another difference between "8 Mile" and "Raging Bull" is that "8 Mile" isn't a tragedy; it's a redemption story, much more like "Rocky." In the end, it sits somewhere in the middle of the two films. Not a tragic biopic, not a redemptive, rousing drama. It felt inevitable. The drunk mom, the trailer park, the white skin, the lying, betraying friends. They seemed more picaresque than anything else. Not a real threat. Only one time did I get a hint of Rabbit's real struggle, of how close he was to giving up: he's getting dropped off at work by a friend and he says something like "Do you ever think it's time to stop dreaming up here; and start living down here." A total paraphrase, but it's a very true moment in the film, an insight into the character that I didn't see anywhere else. Instead of expanding on it, letting it sit there to have its effect on the audience, they use it as an opportunity to joke: "It's 7:30 in the morning, Rabbit." Moment lost. Reality shattered. Too bad.
MOVIE CLUB DISCUSSION: 8 MILE
From: Adam Kempenaar
To: Sam Hallgren; Eric Baker
Subject: William Goldman was right
"...a fiction that required a nonfiction context that simultaneously denied the existence of the nonfiction." Damn. I think my brain just exploded. I didn't realize your vending machine at work sold nickel bags of weed, Sam. But let's start at the beginning. Can Eminem act? You say "no." My short answer: "yes." You are absolutely right when you argue that Eminem has no "Oscar winning moments" and that he doesn't do anything really but look sullen, yell and joke around. I'd add just one more emotion/expression to that list, which is his 'lips pursed, eyes slightly-bugging out, Charles Manson face.' But what you are apparently disregarding is the fact that Eminem clearly exhibits two qualities that every good actor must have -- two qualities that have nothing to do with craft because they can't be taught. First, he is totally, undeniably genuine. I believed every moment of his performance -- his sadness, rage, and humor. Of course, he should be able to pull it off because he is really playing himself. But then Howard Stern actually played himself in 'Private Parts' and he seemed as fake as Julia Roberts holding a hot Rolex. Stern also failed to show even a hint of Eminem's other quality -- charisma. If you've seen even one of his music videos, you know that this guy is a natural performer. In '8 Mile' we are with him for almost the entire movie -- is there a single scene that isn't told from his point-of-view? -- and he never lost my attention. Plus, as you mentioned, the "battle" scenes are electric. His presence on stage and his ability to create rhymes should impress even the staunchest hip-hop haters out there. Besides, "Oscar winning moments" suck. At the risk of offending any readers, William Goldman said it best (and I'm paraphrasing): "Alcoholics and retards should never win Oscars." As for the nonfiction vs. fiction dialectic, you seem to be saying that the ending of the movie -- which we won't discuss specifically -- somehow requires you to believe that Rabbit will achieve the same stardom and success that Eminem had. But the ambiguity that Silver and Hanson leave at the end is one of the movie's greatest attributes. When Rabbit walks away, we don't know if he is going to become a big star and get away from 8 Mile -- but we don't know that he won't either. What we do know is that he has managed to exorcise about 1,000 demons throughout the movie and come to realize that he will never succeed at anything in life unless he is willing to accept responsibility for his situation. Bad mother? Live in a trailer park? Picked on 'cause your small and white? Yeah, life sucks. But you can either sit around blaming everyone or get on with your life, and he chooses the tougher path. Did I miss it, or did Hanson avoid ever actually showing 8 Mile? I don't recall seeing any highway or street signs. I loved that, as if he was showing us that 8 Mile is a dividing line that only exists in our heads. Look forward to your reply and hopefully hearing Eric's thoughts tomorrow.
-CS
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From: Adam Kempenaar
To: Sam Hallgren; Eric Baker
Subject: William Goldman was right
"...a fiction that required a nonfiction context that simultaneously denied the existence of the nonfiction." Damn. I think my brain just exploded. I didn't realize your vending machine at work sold nickel bags of weed, Sam. But let's start at the beginning. Can Eminem act? You say "no." My short answer: "yes." You are absolutely right when you argue that Eminem has no "Oscar winning moments" and that he doesn't do anything really but look sullen, yell and joke around. I'd add just one more emotion/expression to that list, which is his 'lips pursed, eyes slightly-bugging out, Charles Manson face.' But what you are apparently disregarding is the fact that Eminem clearly exhibits two qualities that every good actor must have -- two qualities that have nothing to do with craft because they can't be taught. First, he is totally, undeniably genuine. I believed every moment of his performance -- his sadness, rage, and humor. Of course, he should be able to pull it off because he is really playing himself. But then Howard Stern actually played himself in 'Private Parts' and he seemed as fake as Julia Roberts holding a hot Rolex. Stern also failed to show even a hint of Eminem's other quality -- charisma. If you've seen even one of his music videos, you know that this guy is a natural performer. In '8 Mile' we are with him for almost the entire movie -- is there a single scene that isn't told from his point-of-view? -- and he never lost my attention. Plus, as you mentioned, the "battle" scenes are electric. His presence on stage and his ability to create rhymes should impress even the staunchest hip-hop haters out there. Besides, "Oscar winning moments" suck. At the risk of offending any readers, William Goldman said it best (and I'm paraphrasing): "Alcoholics and retards should never win Oscars." As for the nonfiction vs. fiction dialectic, you seem to be saying that the ending of the movie -- which we won't discuss specifically -- somehow requires you to believe that Rabbit will achieve the same stardom and success that Eminem had. But the ambiguity that Silver and Hanson leave at the end is one of the movie's greatest attributes. When Rabbit walks away, we don't know if he is going to become a big star and get away from 8 Mile -- but we don't know that he won't either. What we do know is that he has managed to exorcise about 1,000 demons throughout the movie and come to realize that he will never succeed at anything in life unless he is willing to accept responsibility for his situation. Bad mother? Live in a trailer park? Picked on 'cause your small and white? Yeah, life sucks. But you can either sit around blaming everyone or get on with your life, and he chooses the tougher path. Did I miss it, or did Hanson avoid ever actually showing 8 Mile? I don't recall seeing any highway or street signs. I loved that, as if he was showing us that 8 Mile is a dividing line that only exists in our heads. Look forward to your reply and hopefully hearing Eric's thoughts tomorrow.
-CS
MOVIE CLUB: 8 MILE
From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: Can Eminem act? Short answer: No.
More than one review that I perused before seeing "8 Mile" asked the following hypothetical question(s) that were, supposedly, being asked by American moviegoers everywhere: "Can Eminen act?", and "Is 8 Mile any good?" I won't deny that I was curious. I also won't deny that I was optimistic (and this is where we get into the fuzzy, but little-discussed area of expectations). Firstly, to choose a project like this -- as opposed to a "House Party" or a "Friday" or any of the other disposable rapper/entertainer movies that have become increasingly present over the past couple of years -- showed bravery on Eminem's part. Sure, he wouldn't be asked to stray too far from his own persona, but to make a screen debut in the starring role of a gritty urban drama directed by a well-respected director -- one that would be asked to be taken seriously by critics -- could almost be seen as lunatic. But I think the reasons Eminem decided to make the film were the very same reasons that dictate his actions in the film itself. And I think this is admirable. And there is much to admire about the film -- the supporting acting is very good; the climactic freestyle rapping scenes are terrific; and the community that the film takes as its subject is unique in mainstream Hollywood filmmaking: you do not see poor, young, urban white and black men unless there is the iminent threat of gang violence. The movie went out of its way to offer an andidote to the gang-sploitation that so many rap-centric movies celebrate. I appreciated this as well. OK. So. Back to the questions at the top. Can Eminem act? The short answer is "no." I don't think the director or the screenwiter or the editor trusted him enough to act. Aside from his time on stage (when he is irrefutably magnetic), Eminem isn't given anything to do but look sullenly at various characters, or to yell at various characters, or to joke mildly with various characters. He doesn't say more than one sentence at any one time in the entire film. There is no "Oscar winning moment." There is no acting. I'm not saying what he's asked to to is easy, but he is constantly being undermined by the script or the editor, and so what you have at the center of the film is a cipher, which amounts to nothing more than the accumulated perceptions of the audience. Instead of telling the story through the Eminem character, the film tries to build a character out of the fragmented peices of its central character's life. But this story doesn't work unless we are made to believe that THIS IS EMINEM'S STORY. But this isn't Eminem's story. At the end of the film, when Rabbit walks away --apparantly from everything and everyone -- any elation or catharsis the audience is invited to experience is completely dependent on the notion that Rabbit IS Eminem. But movie never stops reminding us that this is NOT Emimen's story (as similar as it may be). For this reason, I frequently found the movie boring. The movie was at odds with itself, a fiction that required a nonfiction context that simultaneously denied the existence of the nonfiction. It makes me think that Eminem just couldn't hold up his end. Maybe there was a movie there, and he couldn't fill the role -- a role that wouldn't exist without him. Is this ironic, or is there another word for it. I'm still rooting for this movie. I think it's great that so many people are seeing it. I think it tells a story (about urban decay; about relationships between people of different races; about loyalty, about friendship and family) that isn't being told in mainstream cinema. And the freestyle scenes are awesome. These scenes are the sugar that makes the medicine go down. And I don't think that cheapens it. Even the sugar tells a story worth hearing.
From: Sam Hallgren
To: Adam Kempenaar; Eric Baker
Subject: Can Eminem act? Short answer: No.
More than one review that I perused before seeing "8 Mile" asked the following hypothetical question(s) that were, supposedly, being asked by American moviegoers everywhere: "Can Eminen act?", and "Is 8 Mile any good?" I won't deny that I was curious. I also won't deny that I was optimistic (and this is where we get into the fuzzy, but little-discussed area of expectations). Firstly, to choose a project like this -- as opposed to a "House Party" or a "Friday" or any of the other disposable rapper/entertainer movies that have become increasingly present over the past couple of years -- showed bravery on Eminem's part. Sure, he wouldn't be asked to stray too far from his own persona, but to make a screen debut in the starring role of a gritty urban drama directed by a well-respected director -- one that would be asked to be taken seriously by critics -- could almost be seen as lunatic. But I think the reasons Eminem decided to make the film were the very same reasons that dictate his actions in the film itself. And I think this is admirable. And there is much to admire about the film -- the supporting acting is very good; the climactic freestyle rapping scenes are terrific; and the community that the film takes as its subject is unique in mainstream Hollywood filmmaking: you do not see poor, young, urban white and black men unless there is the iminent threat of gang violence. The movie went out of its way to offer an andidote to the gang-sploitation that so many rap-centric movies celebrate. I appreciated this as well. OK. So. Back to the questions at the top. Can Eminem act? The short answer is "no." I don't think the director or the screenwiter or the editor trusted him enough to act. Aside from his time on stage (when he is irrefutably magnetic), Eminem isn't given anything to do but look sullenly at various characters, or to yell at various characters, or to joke mildly with various characters. He doesn't say more than one sentence at any one time in the entire film. There is no "Oscar winning moment." There is no acting. I'm not saying what he's asked to to is easy, but he is constantly being undermined by the script or the editor, and so what you have at the center of the film is a cipher, which amounts to nothing more than the accumulated perceptions of the audience. Instead of telling the story through the Eminem character, the film tries to build a character out of the fragmented peices of its central character's life. But this story doesn't work unless we are made to believe that THIS IS EMINEM'S STORY. But this isn't Eminem's story. At the end of the film, when Rabbit walks away --apparantly from everything and everyone -- any elation or catharsis the audience is invited to experience is completely dependent on the notion that Rabbit IS Eminem. But movie never stops reminding us that this is NOT Emimen's story (as similar as it may be). For this reason, I frequently found the movie boring. The movie was at odds with itself, a fiction that required a nonfiction context that simultaneously denied the existence of the nonfiction. It makes me think that Eminem just couldn't hold up his end. Maybe there was a movie there, and he couldn't fill the role -- a role that wouldn't exist without him. Is this ironic, or is there another word for it. I'm still rooting for this movie. I think it's great that so many people are seeing it. I think it tells a story (about urban decay; about relationships between people of different races; about loyalty, about friendship and family) that isn't being told in mainstream cinema. And the freestyle scenes are awesome. These scenes are the sugar that makes the medicine go down. And I don't think that cheapens it. Even the sugar tells a story worth hearing.
MOVIE CLUB NOTE - Sam Hallgren promises he'll have a post up this afternoon so I'll wait for his comments before adding anything further to the '8 Mile' discussion I started Monday.
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Monday, November 11, 2002
APOLOGIES - Eric Baker won't be able to see '8 Mile' until tomorrow night and Sam Hallgren is missing in action. If there are any readers who would like to get their $.02 before I post again, please send your comments my way.
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MOVIE CLUB DISCUSSION: 8 MILE
From: Adam Kempenaar
To: Sam Hallgren; Eric Baker
Subject: Eminem Plays Jake LaMotta
Good morning, gentlemen. Thanks for agreeing to participate in this Movie Club with me; I hope we can make it a regular feature and possibly even get a reader or two involved. I know Eric was out of town this weekend and doesn't plan to see '8 Mile' until tonight, but I thought that Sam and I could get the discussion started. Sam, you may recall the conversation we had on our way to see 'Roger Dodger' during the Chicago Film Fest about the power of expectations. We talked about how sometimes we both go into movies with such high expectations that we inevitably end up disappointed, even if the movie is, in fact, good; conversely, sometimes we have low (or no) expectations and end up loving the movie (like 'Roger Dodger', for example). Then, of course, there are those instances where a movie is exactly as good or bad as we thought it would be. '8 Mile' fits into this final category for me. I expected it to be a gritty portrayal of a young man trying to transcend his lot in life through music -- 'Purple Rain' with better writing, acting and directing minus the melodrama. I also thought it could be one of the better films of the year so far, and that's exactly what director Curtis Hanson has delivered. There's been plenty of hype surrounding the movie so I don't want to waste a lot of time talking about the plot, which you can read about at the film's official site. (It also allows you to navigate your way around the area surrounding 8 Mile, the road that serves as the diving line between the white and black sections of the Detroit.) I could start by talking about the acting debut of Eminem, who essentially plays himself since the movie is based on his own turbulent upbringing in this rough section of the city. But one of the most interesting things about '8 Mile' for me was the way Hanson and writer Scott Silver appropriated Scorsese's classic (one of my all-time favorite movies) 'Raging Bull'. The opening credit sequence shows Eminem's alter ego, Jimmy Smith (aka Rabbit), preparing to "battle" with another wannabe rapper. The connection to boxing is made explicitly clear as Rabbit goes over rhymes in the bathroom before taking the stage, executing all of the hand gestures we're accustomed to seeing in rap videos like he was warming up his jab. On stage each contestant is furnished with a beat and then expected to rap over the top, spontaneously ridiculing your opponent. The rappers stare each other down and flitter about the stage just like two boxers in a ring. The boxing/battle correlation aside, where the 'Raging Bull' connection truly struck me was in the way that Jimmy's character ultimately gets betrayed by two of the people who claim throughout to be on his side. The only difference between Jake LaMotta and Rabbit is that Jake displays his paranoia about being betrayed in destructive fits, while Rabbit assumes the best even when he starts to recognize signs that something might not be right. (I'm being deliberately vague here for anyone reading this who hasn't seen the movie yet.) The key scene comes when Rabbit finally hits rock bottom: his mother wants him to move out of their trailer, a place he despises being anyway; the betrayal occurs; and he gets the hell beat out of him by a disgruntled group of rappers who call themselves the Leaders of the Free World. But instead of fighting back, he just absorbs the blows. Even when they yell for him to fight, he just stands there and takes their abuse, just like LaMotta does in the ring that final time with Sugar Ray Robinson -- though LaMotta, admittedly, takes far more punishment than Rabbit does. Did/do either of you guys see the connection, or am I just babbling after a long weekend? I suppose someone could call it theft, but since I liked the movie tremendously I'll call it homage. Looking forward to hearing your reactions. Certainly plenty more to talk about.
-CS (aka "mc white boy")
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From: Adam Kempenaar
To: Sam Hallgren; Eric Baker
Subject: Eminem Plays Jake LaMotta
Good morning, gentlemen. Thanks for agreeing to participate in this Movie Club with me; I hope we can make it a regular feature and possibly even get a reader or two involved. I know Eric was out of town this weekend and doesn't plan to see '8 Mile' until tonight, but I thought that Sam and I could get the discussion started. Sam, you may recall the conversation we had on our way to see 'Roger Dodger' during the Chicago Film Fest about the power of expectations. We talked about how sometimes we both go into movies with such high expectations that we inevitably end up disappointed, even if the movie is, in fact, good; conversely, sometimes we have low (or no) expectations and end up loving the movie (like 'Roger Dodger', for example). Then, of course, there are those instances where a movie is exactly as good or bad as we thought it would be. '8 Mile' fits into this final category for me. I expected it to be a gritty portrayal of a young man trying to transcend his lot in life through music -- 'Purple Rain' with better writing, acting and directing minus the melodrama. I also thought it could be one of the better films of the year so far, and that's exactly what director Curtis Hanson has delivered. There's been plenty of hype surrounding the movie so I don't want to waste a lot of time talking about the plot, which you can read about at the film's official site. (It also allows you to navigate your way around the area surrounding 8 Mile, the road that serves as the diving line between the white and black sections of the Detroit.) I could start by talking about the acting debut of Eminem, who essentially plays himself since the movie is based on his own turbulent upbringing in this rough section of the city. But one of the most interesting things about '8 Mile' for me was the way Hanson and writer Scott Silver appropriated Scorsese's classic (one of my all-time favorite movies) 'Raging Bull'. The opening credit sequence shows Eminem's alter ego, Jimmy Smith (aka Rabbit), preparing to "battle" with another wannabe rapper. The connection to boxing is made explicitly clear as Rabbit goes over rhymes in the bathroom before taking the stage, executing all of the hand gestures we're accustomed to seeing in rap videos like he was warming up his jab. On stage each contestant is furnished with a beat and then expected to rap over the top, spontaneously ridiculing your opponent. The rappers stare each other down and flitter about the stage just like two boxers in a ring. The boxing/battle correlation aside, where the 'Raging Bull' connection truly struck me was in the way that Jimmy's character ultimately gets betrayed by two of the people who claim throughout to be on his side. The only difference between Jake LaMotta and Rabbit is that Jake displays his paranoia about being betrayed in destructive fits, while Rabbit assumes the best even when he starts to recognize signs that something might not be right. (I'm being deliberately vague here for anyone reading this who hasn't seen the movie yet.) The key scene comes when Rabbit finally hits rock bottom: his mother wants him to move out of their trailer, a place he despises being anyway; the betrayal occurs; and he gets the hell beat out of him by a disgruntled group of rappers who call themselves the Leaders of the Free World. But instead of fighting back, he just absorbs the blows. Even when they yell for him to fight, he just stands there and takes their abuse, just like LaMotta does in the ring that final time with Sugar Ray Robinson -- though LaMotta, admittedly, takes far more punishment than Rabbit does. Did/do either of you guys see the connection, or am I just babbling after a long weekend? I suppose someone could call it theft, but since I liked the movie tremendously I'll call it homage. Looking forward to hearing your reactions. Certainly plenty more to talk about.
-CS (aka "mc white boy")
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