Movie Review Somewhere

Somewhere (2010) 

Directed by Sophia Coppola 

Written by Sophia Coppola 

Starring Stephen Dorff, Elle Fanning

Release Date December 22nd, 2010 

Published December 18th, 2010 

A dejected movie star drives his car in circles for a 2 or 3 minutes to begin Sophia Coppola's “Somewhere” and things only grow more elegiac and confounding from there. Stephen Dorff stars in “Somewhere” as movie star Johnny Marco and for the first 20 minutes of the film he is a most irritating and off-putting presence. After the driving in circles we are treated to a scene of the despondent star in his posh Chateau Marmont apartment being entertained by twin strippers before he simply falls asleep watching them.

The scene is noisy and goes on and on and on with Marco never leaving the bed and the girls never leaving their poles until the end and only then to offer a kiss goodbye to the sleeping star. These scenes will test the patience of even the most forgiving fan of writer-director Sophia Coppola and yet as you stick with “Somewhere” something strange begins to happen. A strange fascination arises even as Johnny Marco barely rouses from his stupor.

Conventionally, the story kicks in when Johnny's pre-teen daughter Cleo (Elle Fanning) arrives for a visit. At first she is just a visitor and Johnny is welcoming but with an eye on the clock. After another interlude with the twins, Cleo returns, this time with plans to stay for a while longer. In a more typical story Johnny would be the diva father who learns how to be a better dad through the course of an adventure with his daughter. That however, is not this movie.

Sophia Coppola takes this story in a unique and fascinating direction by seeming to give it no direction at all. Somewhere has a hazy, dreamy feel and it builds fascination by avoiding the typical movie narrative expectations and instead allowing “Somewhere” to unfold in a mercurial fashion that feels natural even as nothing seems to be happening.

It's a daring approach as scenes begin with the chance that something might happen to break the dreamy monotony of this story and then the scene plays out and the dream continues. The ending is near perfection as it plays out in a way that fits the shapeless, prosaic nature of all that came before it. The ending is ambiguous and unusual and leaves the viewer wanting to know more and yet ready to leave Johnny Marco be.

”Somewhere” is one of the most divisive films of 2010. Many will walk out in the first 20 minutes; many will make it to the end and be left agape. But for those who find this film's groove and feel its vibe, “Somewhere” is a real trip, a memorable unendingly fascinating mind wipe that drifts away like fog lifting from your psyche. I hated “Somewhere” for a solid 20 minutes and by the end I loved it. If you can find the groove, you will love this movie too.

Movie Review Marie Antoinette

Marie Antoinette (2006) 

Directed by Sophia Coppola

Written by Sophia Coppola

Starring Kirsten Dunst, Jason Schwartzman, Judy Davis, Rip Torn, Rose Byrne, Asia Argento 

Release Date October 20th, 2006

Published November 19th, 2006 

It is very quiet.  Austrian Archduchess, Marie Antoinette (Kirsten Dunst), aged 15, has just been betrothed to Louis XVI (Jason Schwartzman), the future king on France.  Throughout the long trip from Austria to France, there is an odd expression on everyone’s face.  It’s as if the air itself is uncomfortable.  As the French court awaits Marie Antoinette’s arrival, they putter around amidst the leaves and talk amongst themselves about nothing at all.  They all seem to be thinking something to themselves.  Judging from the same puzzled expressions on the moviegoers’ faces at the screening of Sofia Coppola’s MARIE ANTOINETTE I attended, I think they might be thinking how strange the entire scenario seems.  

Everything feels a little bit slow, a little too quiet and mostly out of place.  It is too early to give up on the film at this point.  After all, this is Coppola’s follow-up to the haunting, offbeat LOST IN TRANSLATION.  We are in good hands.  This uneasiness must be in step with what Marie Antoinette is going through.  Once she finds her footing, I’m sure she will break out of her shell and show these French folk how to live freely and the film will follow.  Well, Marie Antoinette, the person, gets the hang of it but sadly, MARIE ANTOINETTE, the movie, never does.  It remains hollow and aimless, leaving me wondering how Coppola could have been happy with it.

Coppola took a decidedly different and brave approach to chronicling the woman who became the queen of France at age 19.  She cast American actors in French roles and did not have them speak French or even with an accent.  She boosts the soundtrack with 80’s new wave music instead of music of the period.  The choices are meant to highlight the lonely plight of Marie Antoinette, to show that her emotional journey is timeless.  

Only Dunst shows hardly any emotion in the title role so there is nothing to take away.  She can handle isolated and she can party with the best of them but she doesn’t show any turmoil or inner-conflict.  It doesn’t help that Coppola’s script features naturalistic dialogue either.  People rattle on about nonsense and gossip but rarely ever say anything of note to each other.  Perhaps this is what Coppola had intended to show but meaningless conversation needs to give insight into a character’s mind at the very least.  Here, all the minds are empty.

If it weren’t for the fashion and the food (and the fortune that must have been spent on making everything look so lavish), there would be nothing at all to focus on.  For such famous historical figures, very little actually seems to happen to them.  For what seems like half the movie, the entire plot focuses on how Louis won’t have sex with Marie Antoinette.  It is certainly a pressing matter as an heir has to be produced in order to validate their marriage.  If it is not consummated, it may even be annulled.  

When the “great work” was finally done, Marie Antoinette is elated but there is no explanation as to why it was so difficult to begin with nor does it seem like it became any more frequent afterwards.  Her brother had a chat with the future king and that supposedly did the trick.  There is no mention as to what that chat was about so your guess is as good as mine as to what finally turned him on.  

Historically, Marie Antoinette became the scapegoat for France’s increasing deficit.  Whereas the majority of France’s money had been sunk into the 7 Years’ War and aiding the Americans in their struggle for independence from England, the masses pointed their fingers at Marie Antoinette’s frivolous spending.  She went from an adored queen to being chased from her palace.  The build that led to that change must have been tumultuous but Coppola leaves history at the door while very little happens inside.  By the time the mob shows up to drive her and the king out, it feels more like a device than a moment in time.

I can see why the French booed at Cannes.  MARIE ANTOINETTE is a calculated project that was troubled since its conception (Coppola abandoned it during the script writing process to create LOST IN TRANSLATION because she wasn’t sure how to make it work).  The deliberate disregard for historical accuracy may have been valiant to start but finished feeling labored.  Coppola’s previous works relied on emotion more so than dialogue to get under the skin of the viewer.  

Their success announced great promise for MARIE ANTOINETTE but Coppola lost her edge somewhere among the hundreds of pairs of Minolo Blahniks custom made for the film.  A lesser director would not have taken such an ambitious approach to this story.  A lesser director would have made a film far worse than this one.  May MARIE ANTOINETTE be but a misstep along the path of a brilliant career.

Movie Review Lost in Translation

Lost in Translation (2003) 

Directed by Sophia Coppola 

Written by Sophia Coppola 

Starring Scarlett Johansson, Bill Murray, Giovanni Ribisi, Anna Faris

Release Date September 12th, 2003 

Published September 12th, 2003 

Subtlety, a lost art. In the age of Austin Powers and Scary Movie, some would say it's not lost but dead. Before we pass such a judgment though, I would urge you to see Lost In Translation, a subtle, humorous meditation on alienation and intimacy between two strangers in a strange land.

Bill Murray stars in Lost In Translation as Bob Harris, an aging movie star arriving in Japan to shoot a liquor commercial. Staying in the same hotel is Charlotte (Scarlett Johannsen), the wife of a photographer (Giovanni Ribisi) who's work leaves her to roam the foreign country alone. As both Bob and Charlotte wallow in their loneliness and alienation they find each other in the hotel bar and commiserate over being the only English speakers in the room.

It's unclear whether Charlotte recognizes Bob the movie star, but she seems to immediately know Bob the person. Their connection happens quickly but not in the sexual way of most movies. It is an intellectual connection between two smart sardonic people who bond over conversation not carnality.

The plot description for Lost in Translation is difficult because of it's pseudo verite style. In almost documentary fashion we watch these two characters bond over their mutual intelligence and isolation. Director Sophia Coppola does a spectacular job of drawing the audience into a story that is essentially a series of conversations and gestures. It's remarkably absorbing.

Coppola also wrote the smart witty script and then went out and got two terrific actors to interpret it. Bill Murray has never been better. He's always had a terrific slow comic burn but here he doesn't lapse into schtick, he simply accepts the various indignities and we sympathize with him rather than laugh at his reactions. Johannsen, only 19 years old, is Murray's equal in every scene. Showing intelligence beyond her years, she is as smart as she is attractive.

This is a second brilliant outing for writer-director Sophia Coppola and as much as I loved her first film, The Virgin Suicides, I loved Lost In Translation even more. Coppola is not only a talented writer, she has a terrific directorial eye that is very subtle but definitely true. There are a number of terrific visuals in Lost In Translation with equal credit going to Coppola and Cinematographer Lance Acord.

This is a truly remarkable film. Smart, funny, sweet and beautiful. Believe the hype about this one, it's truly one of the best films of the year.