Youth


Michael Caine conducts himself with dignity.

Michael Caine conducts himself with dignity.

(2015) Drama (Fox Searchlight) Michael Caine, Harvey Keitel, Rachel Weisz, Paul Dano, Jane Fonda, Alex Macqueen, Madalina Ghenea, Mark Kozelek, Nate Dern, Alex Beckett, Mark Gessner, Tom Lipinski, Chloe Pirrie, Luna Mijovic, Dorji Wangchuk, Ed Stoppard, Robert Seethaler, Paloma Faith, Emilia Jones, Beatrice Walker, Rebecca Calder, Veronika Dash. Directed by Paolo Sorrentino

We all age. From the moment we burst out of the womb our bodies are decaying on the way to decrepitude. And for the record, there’s no such thing as aging gracefully; there’s only the appearance of it. When we age, we do so with a distinct absence of grace. We go kicking and screaming, flailing away like an epileptic mule, into that good night.

In a remote spa resort in the Swiss Alps, retired composer/conductor Fred Ballinger is vacationing with his daughter Lena (Weisz) who is also his business assistant, and his best friend Mickey Boyle (Keitel) who is a respected Hollywood screenwriter putting the finishing touches with a team of writers on his latest script, which he considers his “moral testament,” a work that he sees as his enduring legacy.

A representative (Macqueen) of the Queen of England is there to convince Maestro Ballinger to conduct one of his most famous pieces, Simple Songs #3, for Prince Philip’s birthday at which time he would receive his knighthood, but Ballinger adamantly refuses for “personal reasons.” Try as he might to pry it out of him, the rep is stymied. However, the Queen can be mighty persistent.

Boyle is writing a hell of a part for an actress whose career he helped launch, Brenda Morel (Fonda) but her reaction to the role is startling and disappointing. Both men are realizing that their best days are behind them, and that they are slowly leaving the things of their youth behind, even as they see those who worship youth flutter around them like so many broken songbirds.

Sorrentino, who directed the Oscar-winning The Grand Beauty, is clearly influenced by the great Federico Fellini. Like Fellini, he has a fascination for women and like Fellini, he has an appreciation for the surreal dreams. As with most Fellini films, Sorrentino populates Youth with the jaded rich, those who have become so used to being able to afford anything they want that there’s nothing they want that they can afford. The shallow values of these people collide with the gorgeous Alpine scenery.

Ballinger and Boyle (which sounds like either a London barrister or a French champagne) are the exceptions. They are bemused by the couples who sit through dinner silently, the South American superstar so famous nobody need even say his name, the wealthy chasing after lost youth as if they could find it again and even if they could, that they can somehow bathe in it and become young again.

There is a great deal of depth to the movie, and it’s the kind that you have to work for. You have characters passing in and out like the actor (Dano) known for playing a robot studying for a new part – and it’s not one that you’d expect. Then there’s the lonely mountain climbing teacher (Seethaler) who approaches Lena, who herself has been cheated on and tossed aside by her husband – who happens to be Mick’s son – and is rebounding in the arms of a gentler, kinder man.

Still, it is Michael Caine who is magnificent here. An actor as versatile as there has been in the last 50 years, if anyone in Hollywood has aged gracefully, he has. He plays a man who has shut away his emotions to the point that when they do come out, it’s a shock. They are most certainly there, but deep below his calm, upper class demeanor. While he dismisses his work as simplistic, there’s no doubt that they mean something very personal to him and even his daughter, whom he has never been able to express his feelings for, knows it. Caine has some of the best moments in the film, particularly a balcony conversation with Mick near the end of the movie that takes a shocking turn. I will always remember his character conducting the cows in the Tyrolean meadows as well as the birds and the wind, making a beautiful symphony only he – and we – hear.

Fonda also has a bravura moment with Keitel, coming off as perhaps the most Fellini-esque of the characters here, with her shrill demeanor, her dangling cigarette and her laid-on-with-a-trowel makeup that make her look like a party guest in a Fellini film. That leads into another sequence reminiscent of the great Italian director in which Mick’s leading ladies all appear in a meadow, repeating robotically the lines from their films.

When Mick tells Fred in a breaking voice “You say that emotions are overrated, but…emotions are all we’ve got,” he’s speaking for Sorrentino. While there’s a lot here to occupy the mind, this is ultimately a movie of the heart and it speaks directly to that organ more so than the one above the neck.

I would be remiss if I didn’t mention the soundtrack, particularly the contributions of Mark Kozelek (vocalist of the Red House Painters and Sun Kil Moon). His voice is as calming and soothing as any you’ll ever here; he’s literally human lithium. His version of Yes’ ”Onward” (written by the late great Chris Squire and the best song he ever wrote) is used three times during the film. It’s a beautiful song about love and perfectly underscores the themes of the movie.

Fellini is very much an acquired taste and not everything here is going to appeal to everyone. Sorrentino often flashes images of people or things seemingly at random, or juxtaposes images with dialogue or songs in a way that very much recalls the late director. Not everyone is going to like it but if you like Italian cinema of the 60s, or simply very good movies that appeal to both head and heart, you’re going to find something here to love. Of course if you’re a Fellini fan, so much the better; but those who find his style too pretentious might want to give this one a miss.

REASONS TO GO: There is truly some magic here. Caine’s performance is wonderful.
REASONS TO STAY: Occasionally pretentious and confusing.
FAMILY VALUES: Graphic nudity, some sexuality and some profanity.
TRIVIAL PURSUIT: Ghenea was 26 at the time of filming, which would have tied her for the honor of the oldest Miss Universe ever were she actually the part she plays.
CRITICAL MASS: As of 12/31/15: Rotten Tomatoes: 74% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: La Dolce Vita
FINAL RATING: 7/10
NEXT: The Hateful Eight

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Unstoppable


Unstoppable

Frank Barnes got lost on the way to the dining car.

(2010) Action Thriller (20th Century Fox) Denzel Washington, Chris Pine, Rosario Dawson, Kevin Chapman, Kevin Dunn, Ethan Suplee, Kevin Corrigan, Jessy Schram, Lew Temple, T.J. Miller, David Warshofsky, Elizabeth Mathis, Meagan Tandy, Andy Umberger. Directed by Tony Scott

Director Tony Scott and actor Denzel Washington have made five films together thus far, of which this is the most recent to date. They have run the gamut from action classics to just-cash-the-paycheck-and-run. Where does this one fall in?

Frank Barnes (Washington) is a veteran locomotive engineer who after 28 years on the job is being forced to retire in a few weeks. He is breaking in Will Colson (Pine), a wet-behind-the-ears conductor who has family that are high muckety mucks in the union. They are headed out on a freight run that will take them out of Will’s hometown of Stanton, Pennsylvania where his estranged wife Darcy (Schram) and young daughter are sleeping.

Meanwhile, over in a different part of Pennsylvania, Dewey (Suplee), a foul-up of an engineer, does the unthinkable; he leaves his cab while his train is under power to flip a switch. While he’s out, the trains’ throttle slips and begins to pick up speed while the gaping-mouthed Dewey watches. He makes a run to try to get into the cab but falls flat on his tush, much to the amusement of other workers in the yard. That will be the last anyone will be amused by the situation.

The train begins to pick up speed on a deadly course for Stanton. It is also carrying six tanker cars full of molten phenol, an extremely toxic chemical. As yard master Connie Hooper (Dawson) puts it, “it’s not just a train; it’s a missile the size of the Chrysler Building.” She neglects to add “and it’s heading straight for town!” With an antiquated curve that someone inconveniently put fuel depot tanks next to, a derailment in Stanton would be the biggest catastrophe that Pennsylvania has ever had – since the Eagles choked in the Super Bowl anyway. Cue the music of impending doom.

With corporate stooge Oscar Galvin (Dunn) putting the company’s profits ahead of the human toll that would surely result of a derailment in Stanton next to those fuel tanks, things look grim for the citizens of Stanton. Attempts to get an engineer on board via helicopter fail miserably, as do attempts to derail the train. However, after Barnes narrowly avoids being ploughed into by the runaway, he decides that the only way to avert disaster is to chase after the train backwards, hook it up to his own engine and try to wrest control of the train from the unmanned engine but can he make it in time?

Scott is a very competent director when he is in his element and this one fits perfectly in his comfort zone. He knows how to jack up the tension effectively, and while some of his methods are a bit cliché (A trainload of school children are approaching in the opposite direction on the same track? Horrors!) he at least doesn’t try to call attention to his own directing skills.

Washington has aged gracefully (which not all movie stars do) and has played this kind of working class hero many a time. He brings the right mix of gravitas and humor to the role, and reminds us once again just why he is one of the top stars in Hollywood. That Chris Pine (Captain Kirk in the recent Star Trek reboot) not only holds his own with Washington but actually makes his own mark leads me to believe that Pine is no one-trick-pony and could have a career in Hollywood comparable to Washington’s.

Dawson is one of those actresses who always seems to put on a good performance no matter what genre she’s doing or what kind of character. Here she’s a frustrated manager who knows that the people above her are corrupt and/or ignorant; eventually she just throws her hands up and allows Frank and Will to access their inner hero.

The movie contains very little CGI, which is rather refreshing. The trains look like trains and not like those created by CGI. Often, modern directors over-rely on computer graphics, confusing realism with real. Obviously, not a problem here. The action sequences of the train demolishing cars and derailers are pretty impressive, and again are mostly done with real trains.

This is the kind of movie that makes for a pleasant 90 plus minutes of entertainment. You don’t have to think too much and you don’t have to do much more than munch your popcorn and slurp your soda. Just sit back, relax and enjoy the ride. Perhaps that was a bad choice of words…

REASONS TO GO: Scott and Washington are old hands at this kind of action thriller. Pine holds his own with Washington which is no easy feat.

REASONS TO STAY: There are a few action clichés here which will remind audiences uncomfortably of The Taking of Pelham 123.

FAMILY VALUES: There is a little coarse language and some action violence. This is perfectly fine for most older kids and teens.

TRIVIAL PURSUIT: The “Stanton Curve” depicted in the film actually exists as a rail line in Belaire, Ohio where the line runs on a historic elevated viaduct just after crossing the Ohio River. However, the fuel storage tanks shown in the film had to be added optically; nobody in real life is irresponsible enough to put fuel tanks in a location where a derailing train could impact into them and cause a devastating explosion – at least, I hope so.

HOME OR THEATER: This is a big bad action movie; to get its full effect you should see this in a darkened multiplex, preferably stuffing your face with popcorn, candy and soda. Hey, they’re all bad for you – why start feeling guilty now?

FINAL RATING: 6/10

TOMORROW: Harry Potter and the Deathly Hallows Part 1