"On the Road" Review

On the Road, Jack Kerouac's iconic novel of youthful restlessness and rebellion in post-World War II America, is one of many books on my "need to read" list. But I have had my eye on the long gestating film adaptation since it premiered at the Cannes Film Festival nearly a year ago, and have finally had the opportunity to see it. And while it's quite well done on a technical level, there's also a sense that something is missing. It's rare for literature to translate perfectly to film; the two mediums are simply too different for the same amount of depth to be present on the screen as on the page, and I found that to be the case here.

On the Road is a semi-autobiographical story of Kerouac's youthful years in the late 1940s. He gives himself the pseudonym Sal Paradise and tells of his interactions with various contemporaries, most notably Neal Cassidy, who goes by Dean Moriarty. Sal meets Dean through his friend Carlo Marx (standing in for Allen Ginsburg) and the two of them embark on a multiyear friendship of sorts that takes them back and forth across the country in search of "it," which I took to simply be some version of personal satisfaction or just their own interpretation of the "American dream." Only once is their quest for "it" mentioned, but in talking with others who have read the novel I learned that this pursuit plays a much bigger role in the book than it does in the film. As a viewer I kept this in mind over the course of the film, that Sal and Dean are in search of something even though it's barely mentioned. Without it there really isn't much of a story beyond youthful antics involving copious amounts of drugs and sex, so it's important to see the idea underneath it all even though the script (written by Jose Rivera) doesn't give it much weight.

That being said, the rebelliousness of youth does come through. A comment from Sal about Douglas MacArthur and a scene involving a corrupt police officer the most overt examples, but the themes are even more apparent considering the late 1940s setting. And given that the book was written a decade later, against the backdrop of the Cold War and the specter of McCarthyism, the spirit of rebellion against controlling authority shines through. Unfortunately though, this search for the American dream and rebellion against conservatism is about as deep as the film gets.

But while a lot of the novel's depth is lost in the script, the execution of the film is top notch. Kerouac's love of America bleeds through in almost every frame of their roadtrips, and the alternately sun-dappled and icy cold cinematography takes great advantage of the swath of American landscapes that fill the film. British actor Sam Riley plays Sal, and he looks and sounds eerily like a young Jack Nicholson. Sal is the laid back center of the film, set against Dean's wild and reckless abandon, and Riley carries the role appropriately. But his best moments probably come when he gets to narrate in Kerouac's beautiful prose. A host of actors, some famous and some less so, populate the film as the various characters Sal and Dean meet in the course of their travels. Few are on screen long enough to truly make an impression; some of the brighter spots come from Viggo Mortensen (as Old Bull Lee / William S. Burroughs), Amy Adams, and Steve Buscemi.

The best performances come fron Garrett Hedlund as Dean and, surprisingly, Kristen Stewart as his wife Marylou. This is the first time I've ever seen Stewart truly give a performance. Yes you know it's still her up on the screen, but none of the awkward nervous hair brushing or swaying that seems to define every character she's played is present here. It's a true, honest, emotional performance. And Hedlund is simply great as Moriarty. He captures the character's restless abandon perfectly, but has some wonderful standout emotional scenes as well. His performance here is proof that it doesn't take an emotional outburst or convulsive weeping to take a strong emotional toll.

"On the Road" is rated R for strong sexual content, drug use, and language.
Running time: 124 minutes
Released domestically on December 21, 2012, by IFC Films.
2.5 stars out of 4.

Top Ten Films of 2012

I found 2012 to be a bit of an enigmatic year for films. As the year began it seemed overloaded with promise, with new films from Quentin Tarantino, Paul Thomas Anderson, Ridley Scott, Wes Anderson, Steven Spielberg, and the Wachowskis, as well as more obscure indie directors such as Andrew Dominik, John Hillcoat, and Rian Johnson. For the franchise-inclined, 2012 also offered the conclusion of Christopher Nolan’s Dark Knight Trilogy, Peter Jackson’s return to Middle-earth with the first part of his Hobbit trilogy, the culmination of Marvel’s Phase One with The Avengers, a big screen adaptation of teen novel sensation The Hunger Games, and to the great relief of anyone who enjoys quality cinema, the merciful conclusion of the utterly dreadful Twilight Saga.

But as the year wore on, many of these films failed to deliver when compared to the hype surrounding them, or to the quality of their predecessors. My two most anticipated films of the year, The Dark Knight Rises and The Hobbit: An Unexpected Journey, both ended up being disappointments. As a lackluster summer progressed into fall, 2012 seemed destined to be another major letdown of a year, following the decidedly subpar 2011. But at the end of September, things took a dramatically positive turn. I saw my first two four star films in nearly two years that month, and while there were occasional bumps along the way, the final four months of the year ultimately delivered four films that were better than any film released in 2011, including one that has already become one of my personal favorites. So while 2012 was probably a slight disappointment overall, it still proved to be a big step up from last year.

I should note that this was a year where my personal opinion differed with much of the critical and commercial majority. While the Academy certainly isn’t known for having broad taste in film, this year only three of the Best Picture nominees made my top ten (though another one received an honorable mention). Amour, Les Miserables, Life of Pi, Silver Linings Playbook, and Zero Dark Thirty all proved to be disappointing on various levels. On the commercial side, major hits The Avengers, The Dark Knight Rises, The Hunger Games, Skyfall, and The Hobbit: An Unexpected Journey all offered some good moments, but weren’t nearly complete enough overall to be named among the year’s best.

With that said, here is my opinion on the best films of 2012, beginning with a few honorable mentions—solid films that just didn’t quite make the cut as being among the ten best of the year.

HONORABLE MENTION

(IN ALPHABETICAL ORDER)

Cloud Atlas

Lana and Andy Wachowski’s and Tom Tykwer’s adaptation of David Mitchell’s novel is one of the more truly epic films of the last several years. With three writer-directors and two completely distinct film crews telling six separate stories that span six hundred years of human history, it’s also one of the most ambitious. All of the major actors play several different roles; the performances are uniformly solid and the film is absolutely beautiful visually. But it doesn’t present many themes that haven’t been seen before, and the six separate climaxes cause the “ending” to go on for about an hour. But even with its issues, it’s definitely a film fans of unique cinematic visions should see.

Lawless

This adaptation of the novel The Wettest County in the World had been on my radar for the last couple of years, mainly because it’s set in Franklin County, Virginia, just a couple hundred miles from where I’ve lived most of my life. Being a Depression-era gangster story surrounding the illegal moonshine trade helped as well, and while it’s a very solidly executed movie—with a terrifyingly commanding performance from Tom Hardy—it’s one of those movies that falls into the category of “good, but not great.”

Lincoln

“Good but not great” is also how I’d describe Steven Spielberg’s long-gestating Lincoln. But its fall from greatness happens almost exclusively at the film’s climax, where it shifts from being a compelling historical drama to feel-good schmaltz that borders on farce with its blatant historical revisionism. Before that, however, it’s an incredibly well crafted piece of cinema with an already legendary performance from Daniel Day-Lewis. 

Prometheus

One of the year’s most polarizing movies, Ridley Scott’s sci-fi meditation on the origins of humanity—and other far more vicious creatures—began as a prequel to his sci-fi horror classic Alien, and morphed into something far more compelling. Many people complained about the movie’s lack of definitive answers, but for me it was nice to have a film that makes you think about and analyze what happened and what the moviemakers are trying to say. It’s certainly a little rough around the edges, but after seeing the movie three times I’m very solid in my interpretation, though other views are certainly plausible.

Seven Psychopaths

This viciously black comedy from writer-director Martin McDonagh didn’t blow away critics or audiences, but I found it quite funny and original. While it’s not nearly as good (or as deliciously politically incorrect) as McDonagh’s In Bruges, it’s still a very fun little film. Christopher Walken gives his best performance in ten years.

TOP TEN FILMS OF 2012

10. RUST AND BONE

For the first time, a foreign movie made my Top Ten. This French romantic drama from Jacques Audiard is one of the more honest character studies I’ve seen as it focuses on two troubled people who fall in love despite extensive emotional baggage. Marion Cotillard and Matthias Schoenaerts give excellent, heartbreaking performances as the two lovers, but just as strong is the writing (Audiard co-wrote the script with Thomas Bidegain from a story by Craig Davidson) that develops these characters in real, honest ways. I’ve long felt that foreign films tend to present life more realistically, while even the best American films tend to deal too heavily in stereotypes or larger-than-life characterizations. But the style of Rust and Bone almost makes it seem as though you’re watching a documentary looking in on the lives and relationships of these two broken people. I should also note that this is one of the most beautiful-looking films I saw this year…and it was shot digitally. I’m a very strong proponent of physical 35 mm (or 70 mm) film as I think it produces a realistic, lifelike picture that digital simply can’t match. And while watching Rust and Bone I was so struck by the beauty and varied composition of the cinematography that I thought it must have been shot on film, and was surprised when I learned it was not. I’m still an absolute film apologist, but this was the first movie I’ve seen that made me think that, in rare hands, digital cinematography can maybe do some of the same things that film can.

9. SMASHED

 

This little gem of an independent film didn’t receive any type of nationwide push from Sony Classics, but I managed to catch it when it played for a week here in Richmond. And I’m so glad I did. It’s a story about alcoholism, a subject which also received treatment in a couple of higher profile films from this past year. But while Flight treated the subject with overdramatized stereotypes and The Master was about far more than alcohol addiction, Smashed treats it with brutal honesty. Mary Elizabeth Winstead gives a terrific performance as Kate, a young married first grade teacher who isn’t above drinking beer in the shower before work or taking shots from a flask in the parking lot of her school. Just as addicted, but much less willing to get help, is her husband Charlie (Aaron Paul), and the film chronicles the ups and downs of their marriage as Kate tries to get help while Charlie struggles to be supportive despite not being willing to give up drinking heavily himself. This is another film that treats human brokenness with unflinching honesty, and while it appears to be going in the same stereotypical direction as other films that have covered the same ground…I don’t want to spoil anything, so I’ll just say that it definitely doesn’t go in the direction that you expect. And it has one of my most absolute favorite endings of the year. This is a true hidden gem that I encourage everyone to seek out once it becomes available in March.

8. THE PERKS OF BEING A WALLFLOWER

This adaptation of the best-selling teen book received strong buzz out of the Toronto Film Festival, but I never got around to seeing it in theatres. Had I written my Top Ten a month ago, once I’d seen all the films I thought I needed to see, it wouldn’t have even made the list. But I never had time to sit down and write my list in  January, and once I saw the street date for this film coming up I decided to hold off so I could see it. And I’m so glad that I did, because this is another film that, while it does tend to deal in clichés, features three extraordinarily well-developed and realistic characters. It’s also one of the most beautifully written films of the year, which is probably not surprising as book author Stephen Chbosky wrote and directed the film himself. And he treats the typical adolescent themes of loneliness, love, sex, depression, and mental illness with such tenderness that it’s impossible not to be moved, even if some moments are a tad sappy. Logan Lerman and Ezra Miller give absolute award-worthy performances as Charlie and Patrick, and Emma Watson is quite good as Sam as well.

7. BEASTS OF THE SOUTHERN WILD

This gem of an independent film did get a wider push from its distributor and therefore needs less introduction from me. I just found it to be an absolutely beautiful film about the relationship between young Hushpuppy (the revelatory Quvenzhane Wallis), and her father Wink (Dwight Henry, just as good). Much has been discussed about whether this film is meant to be literal or more of a modern fairy tale, and while I took it as a mix of both, either way there’s no denying the message. One scene between Hushpuppy and Wink is one of the most heartbreakingly beautiful of the year, but the whole film is just a wonderful example of the magic of cinematic storytelling.

Side Note: The screening of this film I saw was followed by a question and answer session with producer Michael Gottwald. This was a fascinating “brush with Hollywood” for me, even though the film was made completely outside the Hollywood system. It’s also the only time I’ve ever seen a film receive a standing ovation.

6. MOONRISE KINGDOM

Wes Anderson is one of the most unique cinematic voices working today. His brand of humor, outlandish characters, and general storytelling style are completely unique to himself, such that you can tell almost instantly that you’re watching a Wes Anderson film. I’m not as caught up on his older filmography, but this is probably the best work of his that I’ve seen. It’s the story of two middle-schoolers, Sam (Jared Gilman) and Suzy (Kara Hayward) who run away together on their remote New England island causing panic in their small town. It’s a story about young love, told as only Wes Anderson could tell it. Edward Norton gives a terrific, award-worthy performance as Scout Master Ward and even Bruce Willis shows he still has some talent. Anderson’s brand of humor isn’t for everyone, but for me, this was the best comedy of the year by far.

5. KILLING THEM SOFTLY

This independent post-modern gangster drama received an unceremonial release on one of the slowest weekends of the year, and was gone from theatres within a month. Apparently the Weinstein brothers were unable (or, more likely, unwilling) to try and market this film as what it is…a subversive commentary on American society, from politicians to businessmen right on down to criminals. On the surface it’s about a heist gone wrong; two small-time criminals (Scoot McNairy and Ben Mendelsohn, both excellent) rob a poker game and frame a small-time gangster (Ray Liotta) for the job. But things go south, and mob enforcer Jackie Cogan (Brad Pitt in a role he was born for) is brought in to clean things up. But while this might sound like the plot of a typical crime thriller, it plays out about as unconventionally as you can imagine. And that’s because writer-director Andrew Dominik (who also helmed the similarly little seen but excellent The Assassination of Jesse James by the Coward Robert Ford, also with Pitt) is intent on using this story as a metaphor for American society. It’s actually an adaptation of the novel Cogan’s Trade, written in 1974 by George V. Higgins, so the commentary on America circa 2008 comes entirely from Dominik. Most of the characters are largely symbolic, in particular James Gandolfini as washed-up former hitman Mickey, and Richard Jenkins as the nameless driver. This is a must-see film for anyone who loves complex, thought-provoking cinema. Just don’t expect the crime thriller this appears to be on the surface.

4. ARGO

Ben Affleck’s Argo, about the rescue of six escapees from the American embassy in Tehran in 1980, has faced its fair share of controversy over the last several months. This is largely due to it being the most prominent film in this year’s cinematic awards race, as I don’t recall many people complaining about it when it opened in October. And yes, the film does alter history a bit, significantly reducing the involvement of Canada in the operation and drastically increasing the involvement of Hollywood (fun fact: Alan Arkin’s Lester Siegel is a fictional character). Accordingly, it shouldn’t be taken as history, but as a cinematic version of history. And as a political thriller, this film works. It’s a style of film that has certainly been done before, but it’s quite simply a master class in how to deliver a thriller. And that is largely due to Affleck’s direction. Maintaining intensity in a film when the ending is known is an extremely difficult task, but Affleck pulls it off to near perfection. The first time I saw the film I was clinching the armrests of my seat during the climax…and I knew what was about to happen. I’ve now seen the film three times, and it still maintains its intensity; that is the hallmark of truly great filmmaking.

3. THE MASTER

This film from Paul Thomas Anderson was five years in the making. Never one to shy away from tough subjects, Anderson chose with his newest project to tell a story of a religious cult known as The Cause, its charismatic leader Lancaster Dodd (Philip Seymour Hoffman), his wife (Amy Adams), and the wayward World War II veteran Freddie Quell (Joaquin Phoenix). The relationship between Freddie and Dodd is the heart of the film, and it’s one of the most fascinating cinematic relationships I’ve ever seen. This is largely due to the metaphor that is set up by the film’s title, and which plays out in very clear terms due to Anderson’s writing. But it’s also due to two absolutely titanic performances from two of the most talented actors working today. Not since Daniel Day-Lewis in There Will Be Blood (also written and directed by Anderson…coincidence? Doubtful) have two actors so completely and utterly commanded the screen as these two do here. This is quite simply a master class in filmmaking: a storyteller at the height of his craft and two actors who completely and totally inhabit their characters.

Side Note: This is the first American film in years to be shot entirely on 70 mm film, the double-wide, high resolution film stock that was widely used for epic mid-twentieth century films such as Ben-Hur and Lawrence of Arabia. Though it’s not presented in widescreen, it’s still an extraordinarily rich film visually. I was fortunate enough to be able to see the film projected on 70 mm film and it was one of the most spectacular visual cinematic experiences I’ve ever had.

2. LOOPER

There’s very little I can say about Looper without spoiling the plot, and this is a film where the less you know, the more you will enjoy the film. So I will just say that this film is brilliant. Completely, utterly brilliant. If you don’t like science-fiction, or if the ins and outs of a narrative involving time travel are not for you, this film won’t be either. But if you do love science-fiction, this is a top-notch entry in the genre. And what makes it even more unique is that it's not a big-budget studio production; it's an independently produced film with a budget a fraction of most sci-fi films. Writer-director Rian Johnson builds his own world and writes his own rules and then executes this film to near perfection, and Joseph Gordon-Levitt and Emily Blunt give great performances. And Bruce Willis, for the second time this year, shows real talent. Immediately after seeing Looper I wrote that it was the best film made by anyone in the last two years. Ultimately it ended up being the second-best film of its own year, but this is still absolute first-rate cinema. It’s a film that completely, totally pulled me into its world and left me literally jaw-dropped.

1. DJANGO UNCHAINED

Absolute movie magic. A work of pure art. Pure cinematic beauty blended with uncompromisingly savage brutality. A viciously uncompromising yet highly theatrical commentary on America’s shameful past. A razor sharp script filled with instantly memorable, larger-than-life characters. These are just some of the ways to describe Django Unchained, the latest masterpiece from Quentin Tarantino. This film is, quite simply, close to cinematic perfection. It’s an epic western set mostly in the antebellum South—yes, only Tarantino could make a western and have the audacity to not set it in the American West. But this film is, without question, a western. It had me from its old-style opening credits sequence right up to its explosive ending. There is never a dull moment in its two-hour-and-forty-five-minute running time. Whether its one of the many conversations between Django (Jamie Foxx) and Dr. King Schultz (Christoph Waltz), a monologue from the despicably evil Calvin Candie (Leonardo DiCaprio), one of many beautiful widescreen vistas, the pitch-perfect soundtrack, or the sickeningly gory mother of all shootouts, this is an absolute textbook example of Quentin Tarantino in his element, telling a story as only he can. This is one of his most blazingly sharp and memorable scripts, and features some of his best characters. DiCaprio plays completely against type and turns in one of his finest performances. Waltz proves that he was born to deliver Tarantino’s lines. Samuel L. Jackson is the epitome of evil as he stares into the camera during one climactic scene. Jamie Foxx is back in top form playing the steely, determined center of this story of romance and revenge. Tarantino continues to be one of the absolute best at finding brilliant character actors to fill even the smallest speaking parts. The production values, from the costumes to the rich plantation homes to the muddy towns of Tennessee and Mississippi are impeccable. The cinematography is beautiful, whether the gorgeous wide shots that could easily be paintings, a shot of torchbearers riding over a hill in the night that gave me goosebumps, or the simple sight of blood splattering onto cotton or grass. Altogether, Django Unchained is without question the best film of the year, a masterpiece from one of the most visionary and original filmmakers working today.

So that's a wrap on 2012, a year that started out badly but definitely ended with a bang. On the surface, 2013 looks pretty dry in terms of cinematic offerings, but I've already seen a film this year that has a great chance of making my Top Ten for this current year. So who know, maybe 2013 will be a surprise success.