Displaying items by tag: Stacy Martin

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?

BONNARD: PIERRE & MARTHE

France, 2023, 122 minutes, Colour.

Cecile de France, Vincent Macaigne, Stacy Martin.

Directed by Martin Provost.

Lovers of French art, especially from the 19^th century into the 20^th century, will respond to the title of this film. Those not familiar with the art and the artists will be wondering who this couple are.

Pierre Bonnard was a celebrated artist in the 1890s, friend of other artists, Impressionist like Monet, feted in art circles in Paris. With a number of other artists, he was part of a group who wanted to develop the art movements of the time. And he had, as patrons, some of the business entrepreneurs of the period.

The film opens with him painting a young woman, sitting posing for him, she a worker in the business of making artificial flowers. She finds posing very boring. However, she is swept up by the experience with the painter, beginning an impassioned affair with him. She tells him her name is Marthe with a surname taken from the street where she lives. The audience sees, but the artist, Pierre, does not knows that her real name is Maria, she is one of two daughters of an elderly woman, unwell, angry, demanding of her daughters.

In fact, Pierre and Marthe were together for almost 50 years, their union ending with the death in 1942.

With such a long life together, his success in his work, her becoming his model and muse, the screenwriters had to make decisions about how much of the narrative could be contained in a film of two hours. They have made the option of focusing on four time periods in the life of the couple. The meeting takes place in 1893, establishing the characters, the beginnings of their relationship (not yet marriage because he does not want children and be a bad father, yet her wanting children) and his successful exhibitions. Then there is a 20 year gap, the couple now well-established, home in a country villa, Pierre being a success and acknowledged, 1914.

It is a surprise then to move only four years on, 1918, some months before the end of the war which has affected their lives, Pierre called up and affected by his service, the final months and difficulties in rations and surviving. This time the focus is on another character, a young model at the Art Institute, Renée (Stacy Martin) with whom Pierre becomes infatuated. But this time, Marthe, while still the muse and loving her husband, has turned into the practical housewife.

It is in this period that there is a most drama about the relationship between the two, the infatuation with the model, her being received into the household, Pierre travelling with her to Rome, his painting there, his decisions about the affair.

But this is also a period when Marthe herself starts to paint, something in the style of her husband’s work, yet her own individual perceptions. And, there is an exhibition of her work, well received. But this period in their life is marked by tragedy.

Finally, 1942. The couple are elderly, Marthe who has been a lifelong asthmatic, now very ill. Pierre, as always, continuing to paint. And he does at the end, painting his wife’s favourite almond tree blossoming.

One of the difficulties for appreciating this film is the mostly one-dimensional portrait of Pierre, continually painting, his infatuations, his love for Marthe, his transgressions. On the other hand, Cecile de France brings Marthe to vivid life, making her a very interesting character, multidimensional, eliciting audience sympathies.

1. Audience knowledge of Pierre Bonnard, of Marthe? Their time? The Art? The details of their lives?
2. The French atmosphere, the 1890s, 1914-1918, 1942? The decision to choose these four eras for the dramatisation of the art, the artists and their lives? The musical score?
3. A film for art enthusiasts, knowledge of the background of the Impressionists, the various artists, the sequence with Monet, patrons of the art, the movements, the styles, impressions, colours, subjects, landscapes, women…?
4. The introduction to Pierre, his intensity, age, his glasses, the detail of his painting and his style, brushwork, palette, colours? His choosing of models? Marthe and her sitting, posing, bored, her work making flowers, her age? The sexual encounter, infatuation? The revelation about , Pierre , sexuality, devotion to his art, his ambitions, new movements, collaborations, his patrons?
5. The truth about Marthe, Maria, her surname from the street, visiting her mother, her mother and bitterness, her sister, her sister being supported, the issue of divorce? Marthe and her care for her mother, but her exasperation? Over the years, her mother eventually dying, her grief, with her sister, the funeral?
6. Marthe and her moving in with Pierre, life together, his art, her being a model, finding the house in the country, buying it, the exhilaration, naked and enjoying the water, buying the house, remodelling?
7. The issue of painting and subjects, women nude, the comment about not painting men nude?
8. Marthe and her reticence, unused to society, yet taking her, the artists, the patrons, Misia and her relationship with Pierre, her playing the piano, Marthe’s admiration? The exhibitions, Pierre and success? This continuing over the decades? Misia and her husbands, the clash with Marthe in the river, later appearance?
9. 1918, the war, Marthe looking older, housewife, finding supplies, the limitations, Pierre at the front, the aftermath? More reserved? continuing his painting? Asking Renée to pose, her infatuation with Pierre, her being well-known at the Academy, her American fiance? Marthe and her response, inviting Renée in, to stay with them at the house, the atmosphere of a ménage a trois? The effect on Renée? Her leaving?
10. Pierre going to Rome, his rationalisation, the Gallery, his work, Renée with him, at the station, the knocking on the wall, Marthe seeing Renée? In Rome, the painting, the promise of the marriage, Renée and the wedding dress? The sexuality? The painting of Piazza del Popolo, the insertion of the image of Marthe? Renée and her reaction? Pierre and his reaction? The discussion about his love for Marthe? His decision to break the engagement, the consequences for Renée, anger, the dress, the bath, her suicide?
11. Marthe, beginning to paint, Pierre’s style, brushwork, subjects, her success, the visit of the painters, the happy meals? Pierre’s return, supporting her, the exhibition? The sudden news of Renée’s death, the impact on Pierre, his collapse, blaming himself? The consequences for the couple?
12. 1942, almost 50 years together, Marthe old, he will, her history of asthma? Pierre, continuing to paint? The return of the painting from Rome so long ago? Marthe going out, the arm and tree, blossoming, Pierre beside her, quietly dying? His painting of the blossoming arm and tree?
13. The final information, Pierre’s thousands of paintings, Marthe and her work, her presence in so many of his paintings?