Capitalism - Feudalism without the Kings
Tax the Rich
Movie Monday
OK, not to beat a dead horse (what a horrible image!) though I'm about to. I'd like to revisit The Other Woman, this time with spoilers. I watched it again yesterday being mad at myself again for crying; not tearing up but just this side of bawling.
I guess I want to look at this movie for a second week because I think it shows what's wrong with American establishment cinema: the lack of character development, the plot moves and the actors just follow.
In bad movies, you see these flaws immediately but good actors can take you along for the ride and you find yourself giving a rating of 5 stars without even knowing what happened. (Let me clarify something: I can like a bad movie. I can watch and enjoy one; in fact, I've done so many times. The Land of the Lost comes to mind.)
It's not that American movies don't have important themes; it's just that these themes seem to be hammered into you with too many examples or just allowed to float into the ether without a second glance.
Let's take some themes from TOW: infidelity. Jack is as "guilty" as Emilia here. She's attracted to him. She visits his house and walks into the room where his son is watching TV. She knows she's breaking up a family. Soon, we discover Jack will accompany Emilia out of town for some routine law work (Why is a partner doing this type of work? Emilia asks - my paraphrase) and then he accompanies her to her hotel room (But we passed your floor. Emilia says.) So both conspire to betray Jack's wife.
There's a theme here, folks: young woman pursuing/being pursued by an older, wealthy married man and only considering their immediate pleasure. OK, I'm not planning to moralize about this but I do wonder: Jack blithely betrays his wife with a 20-something. Only once? Doesn't anyone think he'll be betraying Emilia in time? Does Emilia (Harvard graduate and attorney) even once think about this possibility?
Then there's the wife, Carolyn. Lisa Kudrow nails the professionally successful, bitter, spiteful woman, who is a very good mother. A fact which is lost in the cloud of her bitterness and hostility towards Emilia. But, why shouldn't she be? This young woman arrived and destroyed her marriage and she now has to share her son with the bitch. However, she is the only adult who is able to rise above her feelings. When her son is upset because Emilia thinks she smothered her 3-day daughter, Carolyn, goes out of her way (and works past her intense dislike) to research the autopsy results thoroughly and then meets with Emilia to put to rest her fears. She still loathes the young woman but she is able to think of her son's needs.
And that's more than Jack does. The movie never explores the tremendous guilt and grief a SIDS mom feels. We see the motions - looking at Isabel's pictures, participating in a walk of hope - but when Emilia, still filled with grief, lashes out at her father in front of everyone, Jack's reaction is not one of understanding. And, Jack's lack of understanding just escalates when Emilia realizing she is not guilty in Isabel's death wants a reconciliation, Jack refuses.
Wow! Infidelity Infant death. Grief management. Anger management. I'm not even going to go into the step-family dynamics and much more. All powerful themes, yet all treated like a Lifetime movie (not that there is any wrong with those.)
But some much of this is what's wrong with American cinema of this genre. We haven't moved out the 1930's mode of problems, angst, resolution, and a happy ending. We're still rewriting that script for the zillionth time.
There must be a middle ground worth exploring between saccharine and life's a bitch and then you die. It's called the middle ground where real people live but America cinema is not ready to go there. Pity.
I guess I want to look at this movie for a second week because I think it shows what's wrong with American establishment cinema: the lack of character development, the plot moves and the actors just follow.
In bad movies, you see these flaws immediately but good actors can take you along for the ride and you find yourself giving a rating of 5 stars without even knowing what happened. (Let me clarify something: I can like a bad movie. I can watch and enjoy one; in fact, I've done so many times. The Land of the Lost comes to mind.)
It's not that American movies don't have important themes; it's just that these themes seem to be hammered into you with too many examples or just allowed to float into the ether without a second glance.
Let's take some themes from TOW: infidelity. Jack is as "guilty" as Emilia here. She's attracted to him. She visits his house and walks into the room where his son is watching TV. She knows she's breaking up a family. Soon, we discover Jack will accompany Emilia out of town for some routine law work (Why is a partner doing this type of work? Emilia asks - my paraphrase) and then he accompanies her to her hotel room (But we passed your floor. Emilia says.) So both conspire to betray Jack's wife.
There's a theme here, folks: young woman pursuing/being pursued by an older, wealthy married man and only considering their immediate pleasure. OK, I'm not planning to moralize about this but I do wonder: Jack blithely betrays his wife with a 20-something. Only once? Doesn't anyone think he'll be betraying Emilia in time? Does Emilia (Harvard graduate and attorney) even once think about this possibility?
Then there's the wife, Carolyn. Lisa Kudrow nails the professionally successful, bitter, spiteful woman, who is a very good mother. A fact which is lost in the cloud of her bitterness and hostility towards Emilia. But, why shouldn't she be? This young woman arrived and destroyed her marriage and she now has to share her son with the bitch. However, she is the only adult who is able to rise above her feelings. When her son is upset because Emilia thinks she smothered her 3-day daughter, Carolyn, goes out of her way (and works past her intense dislike) to research the autopsy results thoroughly and then meets with Emilia to put to rest her fears. She still loathes the young woman but she is able to think of her son's needs.
And that's more than Jack does. The movie never explores the tremendous guilt and grief a SIDS mom feels. We see the motions - looking at Isabel's pictures, participating in a walk of hope - but when Emilia, still filled with grief, lashes out at her father in front of everyone, Jack's reaction is not one of understanding. And, Jack's lack of understanding just escalates when Emilia realizing she is not guilty in Isabel's death wants a reconciliation, Jack refuses.
Wow! Infidelity Infant death. Grief management. Anger management. I'm not even going to go into the step-family dynamics and much more. All powerful themes, yet all treated like a Lifetime movie (not that there is any wrong with those.)
But some much of this is what's wrong with American cinema of this genre. We haven't moved out the 1930's mode of problems, angst, resolution, and a happy ending. We're still rewriting that script for the zillionth time.
There must be a middle ground worth exploring between saccharine and life's a bitch and then you die. It's called the middle ground where real people live but America cinema is not ready to go there. Pity.
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