Rebel in the Rye


Quiet please; author at work.

(2017) Biographical Drama (IFC) Nicholas Hoult, Kevin Spacey, Zoey Deutch, Victor Garber, Hope Davis, Sarah Paulson, Lucy Boynton, James Urbaniak, Amy Rutberg, Brian d’Arcy James, Eric Bogosian, Naian González Norvind, Evan Hall, Adam Busch, Celeste Arias, Bernard White, Kristine Froseth, David Berman, Will Rogers, Jefferson Mays, Caitlin Mehner. Directed by Danny Strong

 

Being an author is often a lonely pursuit. Writers live inside their heads more than most and for those who are true writers the act of writing is more of a compulsion than a calling. The talented ones often see that talent turn savagely on the wielder of that talent.

Jerome David Salinger (Hoult) was a teen who was bright but had difficulty dealing with authority. A caustic, sarcastic soul, he didn’t win points with school administrators by often ridiculing his professors in class. As 1939 is in full swing, he decides to attend Columbia University in New York City and study creative writing, much to the frustration of his staid stodgy father (Garber) but supported by his ever-patient mother (Davis).

At Columbia he comes under the wing of Whit Burnett (Spacey) who is a published author and a passionate teacher. Burnett, who also edits Story magazine on the side, has no time for fools or dilettantes but finds the kernel of something worthwhile in the young, insufferably arrogant student. In the meantime Jerry, as his friends and family call him, is busy wooing Oona O’Neil (Deutch) who happens to be the daughter of playwright Eugene O’Neil.  Talk about a long day’s journey into night.

His pursuit of being a published author is interrupted by World War II and Salinger, who was part of the Normandy invasion as well as the Battle of the Bulge, was profoundly affected by his wartime service. He was present at the liberation of concentration camps and watched his friends die before his very eyes. He came home a changed man and although one of his psychiatrists called his PTSD “a phase,” it would as his literary agent Dorothy Olding (Paulson) said, “mess him up” for the rest of his life.

One of his constant companions during the war was Holden Caulfield, a character Salinger had invented for a short story he had submitted to The New Yorker before the war. Burnett had been particularly enamored of the character and had urged his young student to write a novel about him; Salinger had been reluctant to since he had primarily written short stories to that point but throughout the war Salinger continued to write about the character; much of what he came up with appeared in the seminal novel The Catcher in the Rye, which became a publishing phenomenon and catapulted Salinger to international fame.

However with that fame came stalkers, young people so inspired by the novel that they approached the author wearing the red hunting caps that were the preferred chapeau of Caulfield in the novel. Salinger, already a private person, felt constrained to leave New York City for rural New Hampshire where he built walls of privacy around himself and his second wife Claire Douglas (Boynton) who eventually found her husband, who wrote constantly, to be more and more distant. As time went by, she confessed to her husband that she was lonely. That didn’t seem to matter much to him.

Much of this material appears in the Kenneth Slawenski-penned biography J.D. Salinger: A Life on which this is mainly based and it certainly gets the facts about Salinger’s life right. However, we don’t really get the essence of Salinger here and maybe it isn’t possible to do so; the reclusive nature of the author makes it difficult to really get to know him now even more so than it was when he was alive (he died in 2010 at age 91).

Hoult does a credible job playing the author during the 15 year period that the story takes place. It was one of the heydays of literature in New York City but we don’t really get a sense of the vitality that suffused the literary scene that saw magazines like The New Yorker publishing some of the best work of American authors ever. The movie is in some ways lacking in that rhythm that made the Big Apple the most vital city on Earth at the time. Nevertheless, Hoult is a marvelous actor and while this isn’t the role that is going to get him to the next level, he at least does a good enough job here to continue his forward momentum.

Hoult though in many ways is overshadowed by Spacey as the charismatic Burnett. We see Burnett as a mentor, and then in later years as a man with little money who sees his magazine and publishing house slowly languishing into obscurity even as Salinger is becoming one of the most popular authors in the world. The two would have a falling out and we see that Burnett is stricken by it, while Salinger is remarkably cold. Spacey makes Burnett more memorable than Salinger himself and who knows, given his performance here and in Baby Driver we might see his name bandied about for a Best Supporting Actor Oscar during awards season.

I was never convinced of the time and place as I said earlier; the characters look and act like 21st century people rather than mid-20th century, other than the smoking. The dialogue is full of platitudes and doesn’t sound the way people of any era talk. This I found doubly surprising since Strong wrote two of HBO’s best films including Recount, one of my all-time favorite made-for-cable films.

This isn’t going to give any insight into Salinger or his work; in fact other than a few snippets, very little of the words that the author penned have made their way into the film. The best that one could hope for is that younger people, seeing this movie, might be moved to see what the fuss was about and read Catcher in the Rye for themselves. I suspect that will give frustrated viewers of this film much more insight into the mind of the author than any docudrama ever could.

REASONS TO GO: Spacey delivers a strong performance. Renewed interest in Salinger might be generated.
REASONS TO STAY: The dialogue is littered with platitudes and the characters don’t act like people of that era.
FAMILY VALUES: There is a bit of profanity, some violence, a few sexual references and some disturbing wartime images.
TRIVIAL PURSUIT: Filming took place in Wildwood, Cape May and other towns along the Jersey coast.
CRITICAL MASS: As of 9/30/17: Rotten Tomatoes: 36% positive reviews. Metacritic: 37/100.
COMPARISON SHOPPING: Salinger
FINAL RATING: 7/10
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Abundant Acreage Available

Wetlands (2017)


The secret to life is simply fishing.

(2017) Drama (Abramorama) Adewale Akinnuoye-Agbaje, Heather Graham, Reyna de Courcy, Christopher McDonald, Jennifer Ehle, Louis Mustillo, Barry Markowitz, Sean Ringgold, Rob Morgan, Lauren LaVera, Tyler Elliot Burke, Pamela Dunlap, Melissa Goodwin, Quinn Fucci, Celeste O’Connor, Lou Morey, Jim Fitzpatrick, Natalie Paige Bentley, Dana Kreitz, Donna DeGregorio. Directed by Emanuele Della Valle

 

There comes a time in some lives where we have to start from scratch. Circumstances, bad decisions, bad luck; whatever the case may be, a new beginning becomes necessary once we hit rock bottom. It doesn’t happen to everyone, but it does happen.

Babel “Babs” Johnson (Akinnuoye-Agbaje), the son of an alcoholic religious fanatic and an absent father, has returned to the Jersey shore town outside of Atlantic City where he grew up. It’s in a bleak area of dilapidated homes, empty storefronts and swampy shore known as the Wetlands. He was once a narcotics detective in Philadelphia but a crippling heroin addiction and a heinous act sent him to rehab. He left behind Savannah (Graham), his embittered wife once a trust fund baby but now taking up with Surfer Girl (de Courcy), a surfboard maker who dreams of moving to Hawaii and starting her own business, but has taken to being a drug courier for Jimmy Coconuts (Mustillo) and in a not-too-smart move, skimming some of the drugs and selling them herself.

Babs doesn’t care about any of that. What he’s worried about is his daughter Amy (O’Connor) who despises him for leaving her with her mother and her lover, both of whom are too wrapped up in their own problems to pay much attention to Amy. For now, he’s on the police force of a small town, partnered with Paddy Sheehan (McDonald), a garrulous hard-drinking roustabout who is in debt up to his eyeballs to the local drug lord known as Lollipop (Markowitz) due to his taste in confections and who also happens to be the boss of Jimmy Coconuts. Paddy is married to Kate (Ehle), a newscaster reporting on the pending arrival of a late season hurricane which threatens to cause all sorts of havoc.

If the plot sounds a little bit scattershot, that’s only because it is. Fashionista and first-time director Della Valle seems torn between doing a noir-laced crime thriller and a drama about a broken man trying to start over; either one would have been an interesting movie on its own and if Della Valle had managed to fuse the two together he could have had an indie classic on his hands. Sadly however the two tales don’t mesh very well and we’re left with a choppy, uneven movie that doesn’t have any sort of flow to it. There is a murder in the movie that seems to be the crux of matters but it doesn’t occur until only about 15 minutes are left in the film which gives that last bit an almost rushed feel.

Akinnuoye-Agbaje, who has had numerous supporting roles in a variety of films as well as memorable turns on TV’s Oz and Lost steps out into a much overdue lead role here and he does okay for himself, although he’s not given a very interesting character to work with. Sure, Babs has a lot of baggage and in the hands of a more capable writer could have been unforgettable but we are mainly left with a lot of clichés and backstory that is hinted at throughout the movie (told in black and white flashbacks) until near the end when the big reveal turns out to be not too difficult to predict.

The supporting cast isn’t too bad. McDonald takes the role and runs with it, giving a pretty slimy character a sheen of bonhomie. Ehle gets a role that gives her an opportunity to be sophisticated and sexy and she nails both of those aspects. Graham, who I’ve adored as an actress since her breakout role in Austin Powers: The Spy Who Shagged Me gets to do a role that might bring back memories of her performance in Boogie Nights although the movie isn’t up to the latter’s standard.

There are some really terrific images here, like a roller coaster post-hurricane standing in water but even the hurricane is somewhat anti-climactic. There are a lot of decent threads here but the overall whole is pretty disappointing; everything feels like it’s all build-up and no pay-off. In this town, that kind of thing can get you bumped off.

REASONS TO GO: There are some phenomenal images here.
REASONS TO STAY: The story is a little bit disjointed and the flow is uneven.
FAMILY VALUES: There is a goodly amount of profanity, drug content, sexuality, some nudity and violence.
TRIVIAL PURSUIT: Filming took place in Wildwood, Cape May and other towns along the Jersey coast.
CRITICAL MASS: As of 9/29/17: Rotten Tomatoes: 36% positive reviews. Metacritic: 37/100.
COMPARISON SHOPPING: Blue Ruin
FINAL RATING: 5.5/10
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Rebel in the Rye