Displaying items by tag: Allesandro Nivola

THE BRUTALIST

US, 2024, 215 minutes, Colour.

Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Raffey Cassidy, Stacy Martin, Isaach de Bakole, Alessandro Nivola, Michael Epp, Emma Laird, Jonathan Hyde, Peter Polycarpou.

Directed by Brady Corbet.

The Brutalist is a vast film in scope and length. Beginning with an Overture, it becomes cinematic orchestral and in its two acts and epilogue cinematic operatic.

The screenplay is by former child actor, Brady Corbett, who directed Childhood of a Leader, Fox Looks, working with his partner, Mona. The scope of the storytelling is quite complex. It is multi-themed, beginning with Nazi persecution of the Jews, business close-up in the oppressive dark, concentration camp consequences. It then moves to re-settlement in the US and good use of the Statue of Liberty, Ellis Island, speeches and translations, then out into the vastness of America, a brother. In New York, then a train to Philadelphia.

Throughout the film there is a documentary evidence, radio news commentaries, about the significance of Pennsylvania in the history of the US.

The central character, Laszlo, is an architectural genius, and in prewar Germany, found unacceptable to national socialism, interned, along with his wife and niece. For most of the film, there is voice-over of letters from his wife, still in Europe.

This is the post-war USA, American business, migrants making good, shrewd businessman with no family backgrounds highly successful.

This is the story of Laszlo’s rise, not without its many pitfalls and falls. At first working with his cousin, Alessandra Mueller, participating in the commission from the son of a millionaire, Harry Van Buren is in (Joe all one) elevate his father, Harrison Van Buren’s personal library. Progress is made, Laszlo’s skill in design, his fine eye for detail, his modern furniture style, making a great impact until suddenly, Harrison bursts angrily onto the scene and dismisses everyone. Harrison is played by guy Pearce most convincingly.

But the central performances that of Adrien Brody (who won an Oscar for the pianist in 2002). He is sympathetic, sometimes upsetting, many outbursts, a growing sense of his own worth, his reaction to being challenged.

The film echoes the American confidence of the 1950s, progress and peace, buildings and achievement, the plans for building Harrison Van Buren’s community Centre in honour of his mother. There is the exhilaration of the design, very modern, the meeting of city officials, the inevitable as with material supply, budget overruns, interference from bureaucratic advisers, outbursts. And accidents, possibilities for being sued, compensation, he is in delay.

Unexpected is a sequence when Laszlo and Harrison go to Carrara to choose marble from the quarries there amazing visuals of the cliffs and quarries. But there is a key episode in Carrara that has something of a devastating effect on Laszlo and will offer a challenge to Harrison.

And, finally his wife, Felicity Jones, arise from Europe, wheelchair written, with the taciturn niece. And further complications with the Van Buren family, and with the niece and her fiance deciding to go to live in Jerusalem.

The film begins with an overture good end with an epilogue – and The Brutalist does, are vindication of Laszlo’s career and achievement, exhibition at Venice be a gnarly, and a tribute to Laszlo by his niece.

Often grim, sometimes overwhelming, moments of joy, and a perspective on American history in the post-World War II years.

1. Title and tone? Contemporary art and architecture? Personalities in themselves and their communication?
2. The scope of the film, orchestral and operatic, overture, acts and epilogue? The sound, the music, chords, heavy, light background? The visuals, the use of this division and its style? Editing and pace? The vastness of the impact?
3. The structure, the effect of the overture, setting the tone, from the concentration camps, the crowds, the darkness, the suffering, the release, the focus on Laszlo, the communication with Erzsbert? The freedom, the voyage, the Statue of Liberty and the various angles? Freedom and future?
4. The first part, from 1957 to the early 1950s? Migrants arriving, Ellis Island, the speeches and translations? Into the city – the glimpse of the women, the brothels, Laszlo and his friend? This impact after the years in the camps?
5. To Philadelphia, the train, the meeting with Attila, the welcome, change of name, his store and furniture, marriage to Audrey, Catholic? Their work and reputation, Laszlo criticising the furniture? But his working, his modern designs, Harry Van Buren and, the visit, the commission, the library, the background story, the father and his devotion to his mother, her illness? The surprise?
6. Gradual information about Laszlo, his studies in Germany, his skills, designs, Jewish background, Nazis and concentration camp? His skill in design, creative, demanding? The vision for the library, the visuals, the space, the cupboards opening, the shelves, the issue of the ceiling, its crashing? Harrison Van Buren arriving, the viciousness of his outburst, the dismissal? Laszlo and his reaction, the false accusation by Audrey, being ousted?
7. Laszlo, shovelling coal, the previous encounter with Gordon and his son, Laszlo going to the queue for the bread, their working together? Laszlo and his personality, accepting his fate? The continued communication with Erzsbert?
8. The arrival of Harrison Van Buren, his apology, researching Laszlo’s background, their discussions, the repayment, the possibilities for the future? The further conversations, Harry and his vision, as a tribute to his mother, the details of his background story, single mother, rejection by her parents, their later coming for money, his interviewing, withdrawing the $25,000, giving them 500? His mother’s death? His folio of photos of Laszlo’s work in Germany? The discussion about Laszlo’s past? The discussions about building the centre, the gathering of people and Mayor to present the project?
9. The focus of the film on the building of the project, the long years, the plans, the materials, Laszlo and his explanations of the structure, shapes, worship, the role of the Cross, the sunlight? The happy progress, Gordon and his work? The encounter with Leslie, they working together, ups and downs?
10. The financial difficulties, the time, Leslie and the consultant, Laszlo and his impatience, insulting, Harry and his mediating? The visit to Carrara, the marbles, Laszlo’s friend, the choice of the material, the celebration of the night, the drinking, the strange encounter, Harrison and his behaviour, talk, Laszlo his vulnerability, audience reaction to what they saw, what they thought they were seeing? The aftermath?
11. The train derailment, the lawsuits, the financial difficulties, Laszlo offering his payment of the building to continue?
12. Erzsbert, with their niece, the opening of the film and the interrogation of the niece, her growing up, mute, Erzsbert and her being confined to the wheelchair? Pain, the issue of drugs, Laszlo and his use of drugs for his broken nose and pain, dependence on Gordon?
13. Erzsbert, in herself, the meals with Harrison and his family, journalist training, Harrison getting the job, some financial independence? The tentative relationship with Laszlo, the gradual change in Laszlo, the communication and love? Her pain, the drugs, her collapse, hospital?
14. The niece, quiet, Harry Van Buren, his complaint, the incident with the niece, swimming, out into the woods, his return, behaviour? The effect on the niece? Her later fiance, the meal and discussion, going to Jerusalem?
15. Erzsbert, her going into the meal, her denunciation of Harrison and the rape? Harry and his defence? Margaret and her care for Erzsbert? Harrison and his retreat into the building, the search throughout the building and tunnels, his death?
16. The epilogue, Venice and its beauty, the biennial, the catalogue, the visuals of Laszlo’s architectural achievements, in the wheelchair, his age, the emotion of his niece’s speech, his response? His achievement?
17. Part of American history, post-World War II, the migrants, the Jews, prejudice and racism, finance, exploitation, achievements? The focus on Pennsylvania and its achievement and history? The final impact for the audience and being immersed in this world and experiencing the characters, likes, dislikes, difficulties, challenges?

THE ROOM NEXT DOOR

Spain/US, 2024, 107 minutes, Colour.

Julianne Moore, Tilda Swinton, John Turturro, Alessandro Nivola, Juan Diego Botto, Roel Arevalo, Victoria Wingo, Alex Hogh Andersen.

Directed by Pedro Almodovar.

After directing two films in English, including The Human Voice with Tilda Swinton, Spain’s most celebrated contemporary director, Pedro Almodovar, has now made his first full-length film in English. It is based on an American novel by Sigrid Nunzi. It won the Golden Lion in Venice, 2024, for Best Film.

One of the difficulties for Almodovar aficionados in watching the film is adapting to hearing English rather than Spanish. There were some complaints that the English dialogue sounded somewhat stilted. Whatever the complaints, the important focus is on the actresses who deliver the lines and the intensity of their performances.

The film opens with Ingrid, Julianne Moore, signing copies of her new book, learning that her friend from the past, Martha, Tilda Swinton, is in hospital for treatment for terminal cancer. At first the film works as two friends meeting again, reminiscing about the past, especially for flashbacks to Martha’s teenage years, her encounter with Fred and his experience of the Vietnam war, the birth of their daughter, Michelle.

So far, so expected in a portrait of strong female friendship.

However, the narrative then veers into medical, ethical, moral and legal questions about assisted suicide.

Audiences will have a range of views on this topic. One might note that if all there is in this life on earth, then why cannot individuals take their lives at the time they decide. For those who believe in the afterlife, there are many moral questions. And, there is the status of assisted suicide and euthanasia in different parts of the world in terms of legislation and criminality.

All these issues come to the fore but always in the context of the friendship. Martha is a strong-minded woman, mistakes in the past, but finding her fulfilment in life as a war correspondent, celebrated, but completely alienated from her daughter, her daughter always wanting to know more about her father, Martha unable to fulfil her daughter’s wishes. With some failure in the experimental treatment she is undergoing, she decides that she will end her life, her own decision, her own time, buying a euthanasia pill on the dark web, a woman who wants to end her life with control and dignity.

And, the room next door? Martha rents spectacular mention in upper New York state, asking Ingrid to be with her, not participating in the suicide itself, but assisting in making the last days of Martha’s life days of content. Ingrid is quite emotional, hesitant at first, fearful of death itself, going along with Martha’s plans, but needing some kind of outlet, a sympathetic trainer at the gym, the reappearance of an old flame who has strong views on everything, John Turturro.

And, there is the plan for dealing with the police, denying knowledge, set answers, legal support. There is an unsympathetic police investigation by Alessandro Nivola.

Almodovar wants the audience to appreciate the issue, the emotions, the moral issues, personal responsibility and independence.

However, for the average audience, while this important issue is dramatised on screen, the setting is affluent, very affluent, American society, healthcare and drugs available, the comforts of wealth and a mansion to die in, not the ordinary experience of most moviegoers, an important issue but in another world of which they will never be part.

And, as expected, the final scenes will leave the audience confirmed in beliefs about assisted suicide or challenged ethically, legally, morally.

1. The films of Pedro Almodovar, his Spanish sensibility, his films over the decades, continuing his themes, the focus on women, the focus on sexuality, homosexuality, the Catholic church, religion? Now in English language, in the US context? And the theme of death?
2. The New York settings, the book signing, apartments, hospitals, restaurants? The New York State countryside, Woodstock, the mansion, interiors, the gym, restaurants? The musical score?
3. The first part of the film and the friendship between the two women? The strong presence of Tilda Swinton and Julianne Moore? Working together? Establishing Ingrid as an author, the art world, writing for magazines, the success, apprehensions about death? Encountering stellar, the news of Martha’s illness? Visiting Martha, the past friendship, working together, Martha and her work correspondence (and the flashbacks, the dangers, with the photographer, encountering the two Carmelites), her relationship with her daughter, the flashbacks to the scenes with Fred, the Vietnam war, PSD, the night together, his leaving, marrying, the fire and his death? Martha and the alienation from a daughter, her daughters questioning about her father?
4. Martha and the flashbacks to the war, the discussions with the photographer,
5. Martha, Almodovar’s themes of sexuality, homosexuality, the two Carmelites, the relationship, the discussion about war, vows, sexuality in the context of war and destruction?
6. Her illness, the diagnosis, the medical staff, the experiments, partial success, ultimately not successful, to continue with the procedures or not? The issue of death, planning her death, the pill from the dark web, her plan?
7. Ingrid, her own story, memories of Damien, Damien and his relationship with Martha, the renewed friendship with Martha, talking, listening, sharing? The proposal about assisting at the suicide? Martha saying she had asked others, appreciating Ingrid’s apprehensions about death?
8. Ingrid, her dilemma, emotional response, values response, moral and ethical response, legal issues? Are pondering, the decision?
9. Martha, the renting of the mansion, comfortable, the plan for the room next door, Ingrid choosing the downstairs room? And packing, settling in, the time together, further reminiscences? Martha and her strong determination cop the time of her own choice, not wanting to compromise Ingrid legally, the plan for the police? Her leaving the letter for Ingrid, the letter for the police?
10. Martha, the emotional effect, coping and not, going to the gym, the sympathetic trainer, unable to hug, but her feeling hardened? The encounter with Damien, the conversations, his offer of legal help?
11. The signal for the door to be open or shut, Ingrid seeing the door shut, her grief, and discovering the wind had blown the door shut? Her going out, the time with Damien, Martha deciding that this was the time, setting everything up, going out to sit peacefully, her death?
12. Ingrid discovering her, grief, the letter, contacting Damien, the interrogation by the police, the officer and his faith and strip perspective, not believing Ingrid? The lawyer coming, planning to file a complaint against the officer?
13. Damien, the past, relationships, sexuality, with Martha, with Ingrid, his talk, no questions, his philosophy, doom, the end of the world? The legal support for Ingrid?
14. Leaving Ingrid with the emotional experience, the legal experience, her own values? And the audience response, depending on their attitude towards an afterlife or no afterlife, the right to end life, emotional, legal, ethical and moral perspectives for decisions?

KRAVEN THE HUNTER

US, 2024, 127 minutes, Colour.

Aaron Taylor-Johnson, Russell Crowe, Arianna DeBose, Fred Hechinger, Alessandro Nivola, Christopher Abbott, Levi Miller, Billy Barratt.

Directed by J.C.Chandor.

Kraven the Hunter was created by veteran Marvel Comics expert, Stan Lee. As the title suggests, he is a Hunter, literally of animals as well as of human beings, a foe of Spiderman.

The Spiderman series was made in collaboration with Marvel Studios by Sony. The Sony Marvel action films have been far less successful than the others, beers, Venom, Madame Webb and, now Kraven. In fact, Sony executives have commented that the press “crucified” Madame Webb as well as Kraven making them financial flops, both in 2024.

And, this is a pity with Kraven because it is actually an action show more than a superpowers show, even though Kraven himself has received the capacity for extraordinary climbs and leaps.

Perhaps the central character is not too sympathetic – although Morbius and Venom are not the most attractive superpower heroes.

The film opens strikingly, a convoy of prisoners in the Russian snow and isolation, a harsh Gulag, and Kraven, a sturdy presence and performance by Aaron Taylor-Johnson, suddenly appearing, killing several gangsters in the prison, escaping in a plane. And then this screenplay goes back to an origins story, 16 years earlier.

There are two young Russian boys in the New York elite school, visited by their father, a big Russian drug dealer played with quite some heft and heaviness by Russell Crowe. He makes demands on his sons, especially the older, Sergei (played here by Australian Levi Miller). On safari in Ghana, the young man is mauled by a lion, allegedly legendary, eventually killed by his father keeping it is a trophy. But, Sergei is saved by a mysterious African young woman, Calypso, with tarot cards and a special potion.

Sergei then becomes Kraven, isolating himself, living in Russia, a Hunter, able to be hired to pursue criminals. But, every year, he comes to New York to visit his brother, now a musician and lounge singer, in New York and some contact with his father.

Then various complications ensue, the abduction of the younger brother, the emergence of an arch-criminal, rivalling the father, Rhino (Alessandro Nivola who also has had some strange injections and, unless tempered, his skin becomes like that of a rhinoceros). He also hires a killer, The Foreigner (Christopher Abbott) who can mesmerise his opponents through gazing at them and overpowering them.

What follows is action adventure, the kind that Liam Neeson and other actors used to get involved in, scenes in Turkey, Russia, a rescue for the younger brother, double Cross, Calypso (Ariana DeBose) to the rescue… And a final confrontation with the father. And the importance for Kraven to establish his own moral code.

Which means then that the scenario is ready for an action adventure with Kraven and a confrontation with Spiderman.

1. Kraven and his place in marvel comics, as a hunter in himself, and the conflicts with Spiderman? This film is an origin story for Kraven?
2. The Marvel tradition, the hero, origin, superpowers, confrontations with the villains, personal relationships, testing, exercise of power responsibility, the temptation of the dark side?
3. The range of settings, link Russian countryside, Eastern Europe and the forests, Kraven space, the privileged school in the United States, the sequences in London, homes, the club, the monastery in Turkey? The musical score?
4. The introduction to Kraven, the prisoners, the bus, his challenge, in the prison, sharing the cell, three days, the fights and his abilities, confrontation with the authorities, the gang Lord, the deaths, the abilities of his escape, the flight?
5. 16 years earlier? The back story of Kraven and his brother, the elegant school in New York, their careers of the school, their future? The visit of their father, the demanding man? The story of their mother, Russia, the property, the decline, death? The father, domineering, his business deals, drugs?
6. The father and his expectations of his sons, Ghana, the hunt, testing his sons, the legendary lion, stalking, the attack, Sergei and the vicious mauling, the rescue? Healing? But the father killing the lion, having it a trophy in his home?
7. Calypso, a young girl, her grandmother, the tarot cards, the potions, the quest for her? Her seeing Sergei, attending him, his recovery?
8. Sergei, his retreating to Russia, alone, his home, his discovering his powers, superpowers, his skill as a hunter, his career, employed, hunting down criminals? The return to the Russian prison and his killing the criminals and his escape by plane?
9. The exercise of his powers, climbing, leaving…?
10. Kraven the Hunter, vigilante, returning to New York, his relationship with his brother, his brother in the club, pianist, singing, the visits from their father?
11. Dimitri, different, singing, his being abducted, the plan for the rescue?
12. The issue of the ransom, the father refusing to pay, Sergei going to see Calypso, her work as a lawyer, her contacts, getting information, willing to help Sergei?
13. The character of Rhino, seeing him as young and diffident on the hunt in Ghana? The experience, his being transformed, his skin like the rhinoceros? His power? His henchmen, his plans? The rivalry with Sergei’s father? The contact with The Foreigner?
14. The Foreigner in action, strong, his of hypnosis, the eyes? Swift movement, his attack? The money, wanting to lure Kraven, the information, Calypso given the false information? Dimitri imprisoned?
15. The action to Turkey, the taking of Kraven, the dominance of The Foreigner, the buildup to the confrontation?
16. Kraven, Calypso, the escape, the confrontation with his father, his father and the betrayal, the bear and the attack?
17. Rhino, the confrontation, his being destroyed?
18. The next encounter with Dimitri, his change of attitude, becoming more like his father, setting up a confrontation with his brother?
19. Kraven, getting the vest, the fur, from his father, ready for the future – and the conflict with Spiderman?