Displaying items by tag: Geraldine Viswanathan

DRIVE-AWAY DOLLS

US, 2024, 84 minutes, Colour.

Margarette Qualey, Geraldine Viswanathan, Beanie Feldstein, Joey Slotnick, C.J.Wilson, Colman Domingo, Pedro Pascal, Bill Camp, Matt Damon.

Directed by Ethan Coen.

This is the first film made by Ethan Coen without his brother, all. Joel Coen had also worked by himself with his version of Macbeth, starring Denzel Washington and his wife, Frances McDormand.

The Coen Brothers have always made films which can be described as offbeat, comic, rye, ironic, with particular perceptions and observations on American society.

This film could be described as a caper, with violence, especially with its opening and a cameo by Pedro Pascal nervously in a diner, clutching a case, confronting the owner, pursued, decapitated and the case stolen. This certainly offers an ironic tone. And the setting is 1999.

The film then changes tone quite completely, sex and sexuality, lesbian sex, frank, explicit, descriptions, language, and this continuing throughout.

There are two central characters, Jamie, Margaret Qualley, vivacious, from Texas, exuberantly extrovert (but many criticising her broad Texas accent as unreal, over the top), in a relationship with a policewoman, Suki, Beanie Feldstein. We are also introduced to a rather prim Marian, Geraldine Viswanathan, working in her office, her co-worker flirting but she looking severe, correcting his vocabulary. She is later seen reading Henry James the Europeans throughout the film. Jamie and Suki breaking up, a point of contention a small dog who will reappear throughout the film.

Marian has decided to travel to Tallahassee and Jamie decides to travel with her, going to driveaway company with the manager, Bill Camp (and a joke about his name, Curly and their being forward in addressing him but this only having just met him), then thugs turn up for the car which is transporting the case seen at the beginning of the film as Well Is the head of the victim. So, caper, and pursuit. The two thugs, in their characters, in their interactions and behaviour, the moments of violence, one smooth talking and explaining his tactics, reminiscent of the two thugs in Fargo.

And their Chief is played by Colman Domingo, answering to a boss on the phone. On the way, the girls see a poster of a politician wanting re-election, Conservative, values-stances, and he is played by Matt Damon.

Jamie decides that Marian is too buttoned up, takes her to various lesbian sex clubs, encounters with a lesbian sports team, Jamie intruding with a partner into a hotel room, later Marian going for a lonely walk and accosted by the police, having to spend a night in jail.

The two thugs are tracking down the women, misled by the lesbian sports team to go to a remote African-American club, chatting to an old man, finding that have been taken in – and the thugs continuing with the squabbling.

When the girls’car breaks down, they find what is in the boot of the car – not only the head, but the mysterious case contains models of various replica dildoes (Jamie trying one out). Jamie also phoned Suki with some information but is not believed, but finally Suki deciding to come down to Tallahassee.

There are some flashbacks which explain Marian’s sexual orientation, watching a nude bathing neighbour, making a peep hole in the fence…

When the girls are abducted, tied up, interrogated by the Chief, there are some absurd: twists on the plot, one of the thugs going berserk and shooting his partner and the Chief, the girls escaping. They then decide to get $1 million from the political candidate whose replica they have. They confront Matt Damon, then he decides to attack them, masked, but Suki is on the spot, shootout.

Marian finishes reading the Europeans. They have made copies of the candidates dildo, and the desire to go to Massachusetts, this is 1999, where same-sex marriages are available. Happy ending.

Many audiences will turn up to see a Coen film. It may be put off by the initial violence and decapitation. Others might be put off by the lesbian sequences and their explicitness. So, the film is for the broadminded, perhaps a bit more broadmindedly than usual.

CAT PERSON

US, 2023, 118 minutes, Colour.

Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Isabella Rossellini, Hope Davis.

Directed by Susanna Fogel.

It would seem that in 2017, a short story in the New Yorker, by Kristen Roupenian, was an immediate runaway success. It has now been turned into a film – although, commentators note that the final 30-40 minutes of the film are an addition to the original short story.

The unwary viewer, not familiar with the short story, probably expects a horror film in the vein of Cat People or memories of Batman’s foe, Catwoman. But, this is not the case. A cat person is someone who likes/has cats whether they will admit it or not!

But, this is a story for the younger generation, very much in the contemporary social media world, dating and, especially self-revelation, communication by text.

In reflecting on this film, this reviewer came across an IMD blog which more succinctly expressed the key elements and response to the film:

Exploration of why romance fails

feczo25 November 2023

Romance, both sides seek it, but often there are very different ideas about what that means.

The movie explores pitfalls of idealisation of the other person, placing looks above genuine connection and feelings as well as double standards and jumping to conclusions without trying to deeply understand another person.

It is also accurately portrayed how people read more into text messages than the sender intends both positively and other times negatively perceiving a neutral or opposite intent, or just making it wildly colourful.

Although the characters are somewhat stereotypical and extreme the situations are not far from everyday life, so they are relatable.

"Cat Person" is about the thorny complications of male-female "courtship" rituals, riddled with misunderstandings, unspoken misgivings, and ignored red flags.

Very well put, only to add that the performances are strong, Emilia Jones (British, star of the Oscar-winning CODA) as Margot, Geraldine Viswanathan (Australian) as Margot’s protective friend, Taylor, and Nicholas Braun (American) as the sometimes bewildered, often clumsy, movie fan, Robert.

1. The title, expectations of horror and titles like Cat People, Catwoman…? Rather, a person who has cats, admits this or not?
2. The background of the popular New Yorker short story? The final part of the film adding to the story?
3. The American city, college, dormitories and rooms, cinemas, concession stand? Bars and meetings? Restaurants? The streets? Musical score?
4. The range of songs throughout the film, classic songs, contemporary, and the effect of the lyrics on situations and characters?
5. A film about dating, communication, getting to know partners or not, presuppositions and presumptions? Communication, personalised, in personalised with texting? Instant texting, affirmations, later regrets?
6. Margo’s story, aged 20, some family background, the visit to the family, singing with her mother? Sophomore, sharing rooms, friendship with Taylor? Other members of the college? Boys and meetings? At the cinema, showing classic movies, the customers?
7. The encounter with Robert, coming to the cinema, her comment on what he is buying, his taking it is an insult? His return, phone numbers? Time passing and not meeting, all the texting, the relationship set up by the texting? The effect on each of them?
8. Taylor, best friend, her on-line concerns, feminism, definite in her opinions, protective of Margot? Speculation about people online, their identities, men with feminist views?
9. The discussions with the former boyfriend, his explanations about experimentation being asexual?
10. The relationship between Robert and Margot, the suggestion of the date, texting about The Empire Strikes Back, her reactions, his interpretation that she liked films with subtitles, tangled messages, her agreeing, going to her cinema, watching the film, her being flirtatious, leaning on him with the popcorn, his absorption in the film, Han Solo and layer and a kiss? Her dissatisfaction with the outing, the going for a drink, the interactions, understandings and misunderstandings?
11. Margo, her imagination, the information that men are afraid that women will laugh at them, women that that man will kill them? Her nightmares, the dog and the corpse, Roberts various occupations, attacking her in the car…?
12. The awkwardness, the episode of the kiss, her comments about how badly he kissed, revelation that he was 34, is isolated life? The going to his home, the long sex scene, her alter ego watching and commenting, the effect of the experience, on Margot at her dissatisfaction? On Robert?
13. The aftermath, Margot wanting out, the discussions with Taylor, Taylor and her texting, the next episode of texting, Robert and his moods, desperation?
14. The clash with Taylor, arguing, ousting, Taylor and her dependencies?
15. Margo, moods, riding the bike, going to Robert’s house, the arguments, the misunderstandings, the violence, the attack, the mace in her eyes, the physical fight, to the basement, the fire, the escape, Robert leaving, urging Margot, her hesitation, later escaping?
16. Taylor, searching for Margot, the cab driver, the burning house, the explanation of identities?
17. The police, the basement, finding the bodies, hospital, recovery?
18. Robert, nurse, leaving the hospital, disappearing? Margo, the experience was Robert – and her future?