Noted here happily, my two fave flicks from the last six months or so,
Michael Clayton and
There Will Be Blood nominated for, among others, Best Picture and Best Actor.
Clayton was out and out terrific, from the first shot to the wonderful lingering final moments, a character drama and industrial espionage thriller rolled into a creepy portrait of our business era. I can't praise it enough.
Blood has all the marks of a flawed, or perhaps incomplete, Plutonian masterpiece. Magnificent craft work in all departments, set, cinematography, acting. It is also one of those very rare modern films which presumes to tell a story with pictures, and the first hour, at least, moves along without much need for dialogue.
I would watch Daniel Day-Lewis wash dishes, and here he creates a furious, grasping character the equal to any others in movies: Noah Cross in
Chinatown or Charles Foster Kane. There is something missing to
Blood, though, and I suspect it is another half-hour, at least, which might have filled in the missing years, between the building of the pipeline and the final setting in the 1920s.
Don't be put off by other comments.
Blood's final scene is magnificent -- wonderfully constructed and played, claustrophobic, and deeply strange. The final shot, with Lewis' last line, is classic filmmaking.
What drags the scene down is an astoundingly poor job done aging the actors from the earlier scenes (about 20 years), and a certain willingness to gloss character details that might explain what we see. (I suspect the DVD will have a director's cut restoring several scenes.) It wasn't until about an hour after I left the theater that I figured out just what drove crazy old Plainfield at the end. Back in the day, such things were spelled out on the screen before the final credits. Now not so much.
No Country for Old Men also has a puzzling character decision, namely - why does the guy go back to the scene of the shootout with the jug of water? And it took me a day to figure that one out. (In one word: 'Nam).
Now movies like those discussed above cost tens of millions of dollars, and the best ones employ exceptionally talented directors, writers and actors to bring characters and stories to life. In order for this to happen, the actor needs to understand from the script and the director Why a character does what she does. It does not have to be spelled out all the time, or even onscreen, but a good actor needs to work with choices beyond " just 'cause".
Lately, filmmakers have left off illustrating motivation. Maybe this is because they don't think the audience cares anymore (and they might be right). But some of us do, and we are the ones rewarded when dense pictures like
Blood appear. One pines for the day, though, when one left the theater wrung out (as I felt after
Michael Clayton, and
Chinatown) rather than wondering just what the fuck it was you saw, no matter how well made it was.
I'll be happy to hash all this out with you movie buffs, with spoilers, in comments.
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*Hat tip to Walter Monheit, wherever he may be. . .