Displaying items by tag: Julianne Moore

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?

THE GLORIAS

US, 2020, 147 minutes, Colour.

Julianne Moore, Alicia Vikander, Ryan Keira Armstrong, Lulu Wilson, Gloria Steinem, Timothy Hutton, Enid Graham, Bette Midler, Janelle Monae.

Directed by Julie Taymor.

The Glorias is a portrait-biography of feminist Gloria Steinem. It has been written and directed by Julie Taymor, a renowned theatre director, Tony awards for The Lion King, various Shakespeare productions. Her film career includes Shakespeare’s Titus, the biography of Frida Kahlo, Frida, the musical, Across the Universe.

On the one hand, the overall impact of the film provides a continuous biography of Gloria Steinem, her origins, her travelling father, the mental illness of her mother who had been a journalist writing under a male byline, the disturbing early years of her childhood, her getting a scholarship to travel in India as a young adult, her ambitions as a journalist, difficulties in a male-only publishing world, exposure to exploitation in Playboy clubs and writing on this, but her going to the March on Washington for a portrait of James Baldwin, encountering a number of black women, forming friendships with them, beginning to write, the establishing of the magazine Ms and the status of the title for women and its acceptance, participation in elections for Congress, friendship with Bella Absent, the passing of the years and her campaigning into the 21^st-century.

However, there is something of a surreal framework for this biography. A device is used, with black-and-white photography also, of the four actors portraying Gloria Steinem travelling on the bus, discussions with each other about issues, Gloria talking to herself, examining her past, in the past coming alive in the colourful flashbacks. The main focus on Gloria Steinem is in Julianne Moore, but also Lulu Wilson as the little girl, Ryan Keira Armstrong as the adolescent with conventional ambitions but then breaking out and the young adult Gloria played by Alicia Vikander. Timothy Hutton plays her father. Janelle Monae is one of her close friends and allies and there is a tour-de-force performance by Bette Midler as Bella Abzug.

The film recreates the period, immersing audiences in the various decades of the 20^th century, changes in politics, social attitudes, the rise of feminism.

An interesting different view on the feminist years can be seen in the television series, Mrs America, Rose Byrne playing Gloria Steinem, the focus on her opponent, Phyllis Schlafly, played by Cate Blanchett.

1. The title, the focus on Gloria Steinem, from her autobiography, My Life on the Road, the actresses portraying Gloria Steinem, the final sequences with Gloria Steinem herself?
2. The rise of feminism in the 20^th century, in the United States, the key personalities, the role of Gloria Steinem, journalist, international experiences, speaker, civil rights, abortion issues, women’s rights, multiracial campaigning, politics, the variety of associates, the buildup of her speaking engagements, opposition, personal life, the achievement?
3. The structure of the film, actresses, different stages, their being seen together, on the bus, conversations, interactions, the younger with the older Gloria remembering, questions? The effect of flashbacks and flashforwards? And, finally, footage of Gloria Steinem herself?
4. Gloria Steinem in her time, her mother, journalist, breakdown, institutions, her support of her mother? The divorce, her devotion to her father, caravan, the travels, his dealing in antiques, internationally? His illness, her travelling to him? The phone call sequence? The bonding with her parents, the visits to her mother, her mother’s encouragement?
5. Her growing up in Ohio, the travels, the 1940s and 1950s? The actress playing the young Gloria, the curiosity, her parents, and the sequences with the young Gloria and the older Gloria?
6. The teenage Gloria, the sequence of her conventional expectations of life? And her appearing with the older Glorias, the discussions? The teenage Gloria seen as taking strong stances in the later decades?
7. The adult Gloria, the sequences in India, and the later explanations her grant and travels, her interactions with the Indian women, their expectation she should be married, the conversations, the friendship? Drawing on her Indian experience in her career?
8. The revelation that she had an abortion, the visit to the doctor in London, abortion as illegal, that he not mention her name, that she live her life? (Her dedication of her autobiography to him and this quotation?)
9. Her attempts at journalism, the reaction of the editors, males, writes and rewrites, topics? The struggle, her wanting independence? The later meetings, the idea of their magazine, Ms, the discussions, the cover, the issues, expectations, adventurous attitudes, cautious attitudes, the publication, the results, the glimpse of women reading the magazine, the sequence of the interview with Nixon and the issue of titles, the establishment of Ms and its use?
10. The Civil Rights movement, her going to Washington, the march beyond expectations, Mahalia Jackson singing, the discussions, the discussions with the African-American women? And the later saying that after civil rights, women’s rights?
11. The range of associates, in the women’s movement, the importance of Dorothy Pitman Hughes, her presence, demonstrations, ideas, interactions with Gloria? Politics and the significance of Bella abs (and Bette Midler’s larger-than-life performance)? The meetings, the issues, the absolute and her declarations? Attitudes of Betty Friedan?
12. The older Gloria, Gloria from the 1970s, a long career, stances, the issues, civil rights, the attitudes towards abortion, abortion rights, campaigns? Women and their careers? Relationships? The older Gloria in the bus, and the discussions with the other Glorias?
13. The final sequences? Film clips of the actual Gloria Steinem? The background of her campaigning from the 1970s to the 2010s?
14. The changes in American feminism over the decades? Developments by the 21^st-century? The continued challenges in the present and into the future?

MAY DECEMBER

US, 2023, 117 minutes, Colour.

Natalie Portman, Julianne Moore, Charles Melton, Elizabeth You, Gabriel Chung, D.W.Moffett.

Directed by Todd Haynes.

May December is a phrase that indicates a relationship between a younger person and an older person – with the note, that the older person is considerably older. This film is based on an actual case in Washington State in the 1990s, a married woman with children and her relationship with a 12-year-old. In fact, the woman went to jail, gave birth to a child in prison, and, when released, married the boy.

However, this film does not focus on the 1990s except in retrospect, in memories, in judgements. Rather, the setting is 24 years later, the couple still married, now with three children, one of them graduating from high school. Which means then that an audience will have a point of view on underage sexual relationships, the law, crime and punishment. However, what the film is interested in is the aftermath, what was the effect of the relationship, what was the effect of the marriage, now almost a quarter of a century later?

The occasion for this story is the decision of a company to make a movie about the woman, Gracie (Julianne Moore). A well-known actress Elizabeth (Natalie Portman), comes to town to be with Gracie, to glean all she can that will enhance her performance. In one sense it is perfectly normal for this kind of research. On the other hand, there are all the personal relationships, the probing of the past, sensitivities. But, the way that Todd Haynes, a long-time director of women, Julianne Moore in Safe and Far From Heaven, with such productions as Mildred Pierce, Carol, introduces Elizabeth, we are wary of her, her motivations, professional approach, personal approach and insinuations.

There are frequent scenes of the two women together, especially looking together into a mirror, reminiscent for film buffs of the photos and posters for Ingmar Bergman’s 1960s Persona, the persons, the masks…

And, significantly, there is Joe, the boy in question, now husband and father, played by Charles Melton.

While the screenplay is well-written, dramatic interactions, emotional crises, a strong sequence where a cheeky kid in a class asks the actress about performing sex scenes and she gives quite an intense reply about the process, the detachment, the involvement, the feelings. The way that the audience will understand each of the characters here is often by their body language, their looks, movements, the ways they suggest the inner emotions for the audience to interpret.

It has been remarked that emotions can be buried deep. And, this is the case for the central characters and it is over to the audience to interpret the words and actions to explore these emotions.

However, perhaps the most accessible character is Joe, who is the character who intrigues. And an often warmly striking performance from Charles Melton. Audiences are used to adult predators, used to performers who also perform in real life. But here is Joe, the history of the relationship, his age and inexperience, the marriage, the children, his decades of being husband and father, and the audience wondering how he is still lost in his past, coming to terms, not coming to terms, needs, hopes, love for his children, trying to be supportive of his emotional wife, often allowing himself to be manipulated by her .

The musical score, pounding at times, his adaptation of Michel Legrand’s score for the British film, The Go-between.

The action in May-December is very much December, time passing, the effects of what happened in May, how much for good, how much for ill.

1. The title, relationships, older and younger, considerably older?
2. The screenplay based on an actual case, the 1990s, the older woman, the schoolboy, the relationship, the law, in prison, giving birth in prison, out of jail, the couple marrying, more children, the passing of the decades?
3. Audience judgements about the issue, moral, legal? The important aspect of the film is understanding what happened in the past, realising that decades had passed, the consequences of the initial experience for Gracie, her family, for Joe?
4. The town, homes, streets, beaches, school? Authentic American atmosphere? The musical score (the adaptation from the film, The Go-Beetween)? Highly dramatic and pounding?
5. The situation, the company making the film, Elizabeth coming to the town, to get to know Gracie, to learn, background for her performance? The motivations? Status as a well-known star? Her personality, initially tentative with Gracie, the interactions, listening, observing, standing with Gracie at the mirror, Gracie applying the make up, the touches of intimacy? The coming to meals, meeting with Joe, the children? Intentions, infiltrating the family?
6. Gracie, age, experience, her former husband, willing to be interviewed, his version of the story, his relationship with his children? Gracie and her relationship with Joe, husband and wife, Joe as father? Her relationship with her older children? With her children with Joe? The scene of getting the address for the graduation? Charlie and his moods?
7. The scene at school, Elizabeth and celebrity, the provocative question about filming sex scenes, her intense reply, stage by stage of the experience, detachment, technical aspects, feelings? The audience having this in mind for the sequence with Joe? The daughter and her negative reaction to Elizabeth’s answer?
8. Joe, his age, casual work, his hobbies, the plans, explanation to Elizabeth, the skills? Relationship with his children, with Charlie on the roof, the marijuana, his first time, his relationship with his children? The relationship with Gracie, looking after her, the jobs, her taking him for granted but loving him?
9. Joe, the past, audience trying to understand, knowing what happened, looking at Joe, his body language, listening to him? Sympathy for him? The encounter with Elizabeth, her being seductive, his response, the sexual encounter? The aftermath?
10. The daughter coming home, the airport scene, family together, preparation for the graduation, the graduation scene, the whole family present?
11. Elizabeth, the encounter was Gracie’s older son, insinuations, requests for the job as a music supervisor?
12. The effect of the visit, Elizabeth so often present in the house? Gracie and her becoming wary? And how she was going to be portrayed in the film? The growing sense of alienation? Elizabeth leaving?
13. In the future for the children, going off to college, leaving home? The future of Gracie and Joe?

BEL CANTO

US, 2018, 100 minutes, Colour.

Julianne Moore, Ken Watanabe, Sebastien Koch, Ryo Kase, Christopher Lambert.

Directed by Paul Weitz.

This is quite an unusual film, written and directed by Paul Weitz whose range of films includes American Pie and About a Boy.

The title indicates opera themes and, this is to the fore, an American diva, played by Julianne Moore, comes to a Latin American country to sing at a social for the elite. One of her greatest fan is a Japanese businessman played by Ken Watanabe. He arranges that he come to the concert on the pretext of offering an industrial plant to the President of the country though he has no intention of fulfilling the promise.

During the performance, rebels invade the mansion, wanting to take the President prisoner but he has not attended (staying home, in fact, to watch his favourite telenovella). The rebels make speeches about corruption in their city, are demanding the release of fellow prisoners, taking the guests at the party hostage.

Sebastien Koch appears as a Swiss mediator. And Christopher Lambert has a significant role as one of the hostages, provocative, but able to play the piano and accompany the singer when performance is demanded of her.

Women are released. The men have to stay. Time passes, the negotiator does his best, no co-operation from the government, soldiers outside the besieged building.

There is a planned that the Opera singer perform on a balcony, the people, for the media, a gesture for negotiations. In the meantime, the Japanese businessman becomes more involved with the singer. He has a translator who is attracted by a female rebel, teaching her to read and write, becoming emotionally involved.

There are suggestions of the Stockholm syndrome, the bonding in some ways between rebels and hostages, and a final football match.

There are some tension during the siege, the audience wondering what will happen, what could happen. Eventually, there is an attack on the mansion, the deaths of the rebels, the death of the businessman shielding the female rebel, the Opera singer returning to the US that to her career, with memories of this experience.

1. The title? Music? Opera? Song, divas? In the context of a Latin American uprising, siege, hostages?
2. The locations, the opening in Japan, business offices? Homes? The transition to Latin America, filming in Mexico, the city and the streets, the palatial house and interiors, the enclosed grounds, the background of the mountains?
3. The musical score, the Opera excerpts, Julianne Moore and the Opera singer’s voice?
4. The opening, the Japanese businessman listening to Roxanne singing, his love for the music, the travelling to Latin America, alleged opening a business, but not his intention, his deciding to go to listen to the singer? Welcomed, the reception, the guests, affluence, celebration, but the refusal of the president to go?
5. The businessman, the translator, the translator and his skills, moving comfortably with everyone? The interview with Roxanne? Her singing?
6. The invasion, the rebels, uniforms, masks, weapons? Taking control? Wanting the president? Motivations, the release of political prisoners, accusations of corruption?
7. The mayhem, the wounding of the host, the young rebel sewing his wound? Everybody on the floor, time passing, the businessman offering his coat to Roxanne as a pillow?
8. The extended siege, the personalities of the rebels, their backgrounds as teachers, their causes, commitment? Weapons?
9. The negotiator, from Switzerland, personality, skills, calm? Searched? Discussions? Negotiating the release of the women and the elderly? The musician, his need for tablets, his collapse, the decision to retain Roxanne, his being upset, going back, opening the door, the young rebel shooting him?
10. Outside, ambulances, the media? The reports on television? Local police, guards?
11. Roxanne being detained, seen as more valuable? The time passing, the various personalities, Simon, the farewell to his wife, the incident with the shaving and the loss of water, his ability to play the piano, accompanying? His excitement with the football?
12. The lack of water, attempted negotiations, the decision for Roxanne to sing, going up onto the balcony, Simon playing the piano, the effect? The water being turned back on? The delivery of the food? Roxanne being given a comfortable room, Carmen looking after her, the conversations?
13. Carmen, not able to read, talking to the interpreter, asking him to teach, the various meetings, the attraction, the night together?
14. The businessman, the attraction towards Roxanne, the mutual attraction, taking blame for being in Latin America, ultimately together, the interpreter arranging things, Carmen and her intervention?
15. Time passing, the Stockholm Syndrome, the bonding between captors and hostages? Especially playing football together? Symbolism of the soccer match? Their being allowed outside? The cause, to give up or not?
16. The rebel singing, his embarrassment at going off key, climbing the tree, people urging him down, Roxanne teaching him how to sing?
17. The invasion by the troops, the singer shot in front of Roxanne, the young man working in the garden, offered jobs by the hostages when they left, his death, the leaders? The businessman shielding Carmen and being killed?
18. The rescue, people led out, the effect of the experience?
19. A year later, Roxanne singing, the presence of the interpreter, her vision of the businessman?