Displaying items by tag: Diane Lane

INSIDE OUT 2

US, 2024, 96 minutes, Colour.

Voices of: Amy Pohler, Maya Hawke, Kensington Tallman, Liza Lapirar, Tony Hale, Lewis Black, Phyllis Smith, Ayo Edebiri, Lillimar, Grace Lu, Sumayyah Nuriddin-Green, Adele Exarchopoulos, Diane Lane, Kyle MacLachlan,  Paul Walter Hauser, June Squibb, Frank Oz, John Hertzenberg, Flea.

Directed by Kelsey Mann.

So, this is what puberty is like!

In 2015, Pixar studios won the Oscar for best animation film, Inside Out. It was very very popular, children enjoying it, parents given food for thought. The basic idea was quite creative, imagining the different feelings inside an 11-year-old girl, Riley, who had to move to San Francisco because of her father’s new job. And how to manage these feelings? The answer is in personifying them, engaging cartoon characters up there on the screen, working in the control studio which stood for Riley’s inner life. And, a very entertaining range of voices.

It has taken eight years and more for the sequel. And most audiences have found it well worth the wait.

But, how to replicate the ingenuity in the screenplay, and to engage the audience – and broaden it? The answer is that it is Riley is now 13, has reached the stage of puberty. And, of course, there are quite a number of new feelings.

Audiences will remember the leadership of Joy (again Amy Poehler), counterbalanced by Anger, reactions by Disgust, and, lurking there, Fear. And the very attractive emotion eliciting quite some pathos which sometimes takes over, Sadness. Joy is in control in the control room, and the emotions enjoy themselves in Riley’s reactions, devoted to her parents, good student, kindly in helping others in embarrassing moments, and, an interesting choice of sport for the film, talented in ice hockey. The feelings are able to relegate bad memories to a storeroom – where a huge character, called Dark Secrets, lurks. And, in the present, an old lady emotion, Nostalgia, keeps appearing but is told to go back and wait for 10 more years!

Everything is going smoothly and then the new brigade of emotions arrives, wanting to take over, different emotions for a 13-year-old and her changes in life. They are led by Anxiety, intervening all the time, various scenarios for Riley’s future, and mixing her up with instant changes of moods, answering her parents back, extremes of happiness, invited to a hockey camp by a top coach, learning that her two friends will be going to a different school, becoming very erratic in walking out on them, foot in mouth with the new friends often – not easy being a young teenager.

Along with Anxiety feelings of Ennui (Boredom personified, long-haired, languid, French accent), and, rather green, Envy. There is also the very large Embarrassment who blushes and hides as Reilly so frequently become self-conscious.

Mom and Dad are puzzled. The veteran feelings are also puzzled and decide to go on a rescue mission, rebelling against Anxiety’s takeover.

The Inside Out films show Pixar studios (remembering Toy Story) at their best, vivid, full of colour, the feelings in all shapes and sizes, and a great variety of voices – with going back to look at the voice cast to appreciate this.

As, with the previous film, there is a lot for parents to think about, to appreciate a lot of the emotional turmoil, erratic changes, moods, they might then remember from their own teenage years and understand their children better. And, there is a great deal to think about for the teenage audience who might find this wonderful personification of feelings holding up a mirror, delightful and humorous, to their own mood swings.

Looking forward to Inside Out 3, and how many more moods there will be in later adolescence!

1. Popularity and awards for Inside Out? The appeal to younger audiences, parent audiences, understanding of emotions via cartoon characters and personifications?
2. Memories of the first film, welcoming of the second film? Riley moving from 11 to 13, puberty?
3. The style of the animation, colourful, vibrant, motions, the settings, the mind control in the Sense of Self? The range of characters, colours? Shapes and sizes? Movements? Riley’s world, the realistic world, at home, at school, playing hockey? The musical score? The skills of the voice cast?
4. The premise of the headquarters for mind and emotions control, Sense of Self? Look and sound and personalities of Joy, Sadness, Fear, Anger, Disgust? Their interactions? Each of the contributions, the vitality of Joy, the reserve of Sadness, the outbursts of Anger, the hiding of Fear, the reactions of Disgust?
5. Riley, the audience knowing her in the past, liking her, turning 13, relationship with her parents, their concern and love, her playing hockey, her helping Bree with the spilt coins, Grace helping, the bonding? The sharing, playing together?
6. Everything going smoothly and control, Riley and her emotions, removal of past memories, said memories? The arrival of the new emotions? Their look and sound? The shape and colour and voice of Anxiety? The green of envy? The languid look and French accent of Ennui, boredom? And the huge shape and behaviour of Embarrassment?
7. The effect of Anxiety taking over, the plan, relegating the Sense of Self? The continued moments of embarrassment? Ennui intervening only when necessary?
8. Riley, skill at hockey, the coach, the invitation to the summer camp, hopes, the three friends, the news that the other two were going to different school? Anxiety and the others taking over, the erratic and mixed emotions, her reaction to her parents? The behaviour at the camp, the mistake and everybody being penalised, embarrassment? Her admiring Val, the other team members, playing up to them, the discussions about popular groups and her being embarrassed? The temptation to give up her friends? The confusion?
9. Behind-the-scenes, the old emotions and their strategy, going back, the old memories, the Dark Secret, Sadness and her getting the commission to investigate? Riding on the Stream of Consciousness, the different vehicles, broccoli…?
10. Anxiety, looking at the results of Riley’s confusion? The move to coordinate, to work together? The humour of the old lady of Nostalgia appearing and being told to go back and reappear 10 years later?
11. Riley, the end of the camp, with her parents, with Val and the others, reunited with her friends?
12. All the emotions content, Riley moving from childhood into adolescence? The finale at a looking at her phone, the selection of the team, her smile?

FEUD: CAPOTE VS THE SWANS

US, 2024, 8 x 60 minutes, Colour.

Tom Hollander, Naomi Watts, Diane Lane, Chloe Sevigny, Calista Flockhart, Demi Moore, Molly Ringwald, Treat Williams, Joe Mantello, Russell Tovey, Jessica Lange, Chris Chalk.

Directed by Gus van Sant, Jennifer Lynch, Max Winkler.

As the second in the television series of Feud, created by Ryan Murphy (also creator of American Horror Stories and Glee). The first feud was between Bette Davis and Joan Crawford during the filming of Whatever Happened to Baby Jane.

Response to this series will depend on audience sympathy or not with its central character, author Truman Capote (previously played by Philip Seymour Hoffman in his Oscar-winning role in Capote as well as by British actor Toby Jones in Infamous). Capote, from the south, found fame with Breakfast at Tiffany’s and then his research for and publication of In Cold Blood. However, effeminate in style, camp, openly gay, he found acceptance in affluent New York society, especially with a group of women in the 1960s whom he dubbed The Swans. However, he wrote fictitious articles about them, but their being quickly recognised, they turned on him.

Response to the series will also depend on audience attitudes towards the Swans, the self-centred way of life, their arrogance, social ambitions – and the vengeance on capacity.

The series has a very strong group of directors as well as acting cast. Tom Hollander is completely convincing as Truman Capote – and a bonus is the presence of Jessica Lange in memories and dreams of his mother.

For some perspective on the characters and moral issues, the fifth episode is interesting in a created meeting between Capote and author James Baldwin, his encouraging Capote but their discussing and analysing his relationship with The Swans and his writing.

The central characters are all real but this is an interpretation of them – and, to the anger of some reviewers, it is a hostile/critical interpretation of Capote.

1. The series on American Feuds?
2. Audience knowledge of Truman Capote? American society in the 1950s to the 1970s? Interest/not?
3. Truman Capote in himself, his life, his writings, success, reputation, vanity, gay orientation, love of society, the expose, vengeance wreaked on him, the impact of his mother, the meaning of his life?
4. The impact of the series, eight episodes, the range of writers, directors? The prestigious cast?
5. The episodes, moving around in time, flashbacks to Capote his childhood and relationship with his mother, as emerging in the 1950s, Breakfast at Tiffany’s, the 1960s, the research for writing In Cold Blood? His status? Yet his personal ambitions, the 1960s, society, friendships, his writing, the publication of the article, condemning the swans, reactions? His researching his reply, Answered Prayers? His drinking, drugs, health, relationships? Into the 1980s, his collapse, death?
6. The significance of the fifth episode, the conversation with James Baldwin, his character and career and writing in the light of this conversation, James Baldwin and his reputation, literature, living abroad, homosexuality? Discussing the situation with The Swans? An opportunity for moral evaluation of the themes and characters?
7. The attitude to New York society, wealthy, snobbery, status, moral perspectives, sexuality and relationships, betrayals, the impact of wealth, to be seen, restaurants, balls? Wealthy American New York society of the period? Households, mansions, lifestyle, fashion, beauty parlours and manicure is, servants…?
8. The portrayal of The Swans? Babe Paley and her relationship with Bill, his fears, his impact on the world of television, her patience with him, yet her coldness towards her children and alienation? The 1950s and 60s, Capote entering into this world, Bill Paley’s reaction? The cells next? Babe and her devotion to Capote, his devotion to her? Slick, haughty, her marriages and flaunting her husbands, vindictive attitudes? Gossip, the Royal family, international status? C.Z., her lifestyle, gardens, horses, posing nude for Frida Kahlo, the painting, her friendship with Capote, Brinkley to him, mediating? Lee Radziwill, her relationship with her sister, Jackie Kennedy, her place in society, interactions with Capote? Not supporting him?
9. Ann Woodward, her story, relationship with her husband, the shooting, her confronting Capote, the reaction of The Swans? His writing about her, her suicide? Her family coming later to haunt him?
10. The episode of the Black and White ball, the discussions, the guest of honour, the irony of the editor of the Washington Post, The Swans vying with each other, the visuals of the ball?
11. The Maysles Brothers? Their skills documentarians? The filming of the documentary on Capote in his life, in black and white, the presence of Albert Maysels’, devotion, dancing together? The effect of the film?
12. The bonds between the women, ladies who lunch, Capote and his entree into their world, friendship with Paley, Paley turning against him? Capote exploiting his friendships?
13. His writing, turning against the women, the visualising, the recognising themselves? The articles, widely read? The effect? The reaction of each of The Swans?
14. Capote, the baths, the encounter with John, the relationship, John and his moodiness, leaving his family, some violence towards Capote it? The irony of his daughter, her coming to Capote, his taking her on, as a project, as a model, the incident of her being bottled on babe Paley, Richard Avedon in the photo at his change?
15. Jack, the long relationship, his moving to Switzerland, his companions, trying to give advice to Capote?
16. The background of his feud with Gore Vidal?
17. Capote, the drinking, the intoxication of his connections, status in society, drugtaking, as range of partners and young men? Change of heart on not? The writing of Answered Prayers? Series dramatising the scenes from answered Prayers, the different light on The Swans?
18. Babe, arrogant, yet sympathetic, her husband, illness, revealing it, her death? Her grave?
19. The importance of his mother, her appearance in his fantasies, the reminiscence about the past, his bringing up, her influence, her being a prima donna?
20. His later years, Johnny Carson’s former wife, care for Capote, his death?
21. Audience response to the series, curiosity, prurience, revulsion, interest, judgement?