Movie Review: The Devil Wears Prada

Okay, there was this one time, ages ago, when my best friend (straight) and I were watching the Oscars in his apartment in Omaha, NE. The show goes and he squints at the red carpet preshow I was forcing him to watch. The day before he had been bitching about how he didn't care for Joan Rivers and how he found the whole thing to be quite fake and gregarious.

And as he watched now, he leaned back and said something that I still laught about today.

"She looks like crap in the dress."

Here he was, straight as an arrow--and all his education and straightness--and he knew what looked good and what doesn't.

And we think gays are shallow? Seems to be universal.

But our obsession with beautiful manifests itself in slick commercials, ongoing programs of self-improvment and reality shows of the pressures of said art. Now there's a movie too.

The Devil Wears Prada is a formula movie. I noticed novelty is far and few between this year. Must be because last year was so full of duds, they went with easy crowd-pleasers. This is one of them. Girl gets glossy job, starts to join their ranks of elitism and then decides it's too fake of a life. Yep, heard it before.

The film is decent, but far from a hit. Every one nails down what they are supposed to do and the plot meaders from expected experience to expected experience. But whereas TransAmerica uses it to teach lessons, Prada seems to just be going through the motions.

Where the film will appeal to many is Meryl Streep. She plays the villianous boss to the hilt and when she's not on screen, you keep finding you wish she was. Is this supposed to be comedy? If it is, it's not very funny. If it's supposed to be a drama, then more angst needs to grace the screen.

What bothered me is the interactions the characters had. I've read Dr. Deborah Tannen's collected works, and I do believe that women speak in a manner that is different from men. Especially at work. So when Streep's boss insults the protagonist's shoes with a crude (but perfect!) stare, why does the youth merely kowtow into a new pair of heels? Why doesn't she quit?

For we wouldn't have a movie without it happening. I just felt that if Anne Hathaway's young office assistant is so intelligent that her boss sees it on her resume--how can she be so dumb as to merely accept her position as underling? And worse? She improves herself by being more fake.

In the end, of course, everything fixes itself in the manner I'm describing, but still...I have more faith in today's youth. It shouldn't take a year and trip to Paris to figure out your boss is so wrong.

So this is fair-to-middlin' movie. See it for Streep. See it for the clothes. See it for the air-conditioning. But don't keep you hopes up too high. This is merely high fashion, after all.

Movie Review: TransAmerica

I used to hate when they lumped my issues with that of bisexuals and transgendered individuals. I really did. I was younger and could not understand how my travials were equal to theirs. Surely, discrimination is fairly universal, especially with the current government, but me--who loved men with men--could not possibly understand what it was like to feel like a woman on the inside and want to be different.

As time passed and my wisdom grew, I realized that, they too, have only a handful of films to show the world their situation in a manner that is uplifting and approachable. Gay movies, when made into the mainstream, ended with violence and saddness--and films about transgendered individuals were even smaller in number--I mean, Silence of the Lambs? Not a good example of transgendered experiences.

This is the first film, as a matter of fact,that opened my eyes to several points that I have to mention. An art film of sorts, the movie stars Felicity Huffman from Desparate Housewives fame. I use the term fame, for choosing an out of the way title like this says volumes about her. Her husband is William H. Macy, also an actor of profound merit, who chooses work that are also unique and highly challenging---Mrs. Huffman is cut from the same cloth it seems. Here she is a pre-op transexual who recieves news that she fathered a son many moons ago and he's in trouble.

The film then moves into the comfort zone of the usual 'road/buddy' picture as she bails the young man out of jail and they begin a cross-country trek to her home. The choice of formula is important. Like many, I'm sure we don't understand the transgendered experience but we know the plotline. We know they will get to know each other better in the process, and we can breathe a small sigh of relief in that there isn't too much new information.

And really, because of this plot, the theme is, by far, more approachable to a wider audience. Couple it with a performance that was outstanding, and you learn much, even if you didn't intend to. Mrs. Huffman doesn't play the part for yuks or curiousity. She really plays her as a woman of self means and energy that carries the movie. Kudos to her.

As you watch, too, the story is very adaptable. You see that her problems are fairly similar to any outsider, her issues are just as crazy as any other family's. I was impressed.

Maybe you should pay this a visit. I know feel I might understand a bit better than before...I know I don't have any issue with trasgendered people sharing billing with gays, lesbians or bisexuals as much any more.

Movie Review: Prarie Home Companion

Ever hear of culture shock? I mean, really powerful stuff, the kind where you enter a strange land with even stranger people? Happened to me once, when I went away to college. It started small enough. My friend had sent me a book called, "How to talk Minnesotan." I thought it was a joke. The kinda thing you send to people to create a sense of identity over the holidays or special situations. I read it, but I didn't really understand it.

Then I arrived in Moorhead, Minneasota.

Culture shock. No one hurried. Nothing was a yes/no answer--everything was a tale. And they laughed at the weirdest things. Every Sunday, my idiot roommate, blonde as the Norweign sunset would be glued to the radio, the radio, listening to Prarie Home Companion. Since he liked it, and I hated him, I refused to like it.

Time passed, and with it came wisdom. I discovered that culture can be a very strong thing--and helps with pride. Think of a gay teen, struggling with his own identity, realizing that he is part of something larger than himself. Pride building. Think of the adopted Korean tyke, learning her countries vast history and knowing, she too, is part of a bigger whole.

Prarie Home Companion does that for many people of the upper midwest. I'm refering to the radio show. As the internet and technology separate people from their origins farther and farther is provides a refuge for a kinder place and time. Now you have to understand the presentation in Prarie Home Companion. It's format is simple humor, borderline English, born out of the complexities of life--and how humor is, literally everywhere. The best comparison I can make is a Woody Allen movie. It's humor is angst and urban and you aren't really sure if you should laugh unless you are from New York. Such is the gaffaws of Prarie Home Companion.

The show has been on for 30 years. I guess that would be the reason to turn it into a movie. They have such a successful format, I was confused as to the reason of the choice. Personally, I think it would have fit better on public television, but no matter.

The film is really only good if you know the world of PHC. Garrison Keillor's delivery is his standard, plain drawl, without emotion, full of wit. Here, a storyline is introduced, if only to give a reason for characters to interact backstage. Seems the show is being closed and this is it's last night.

That simple.

Garrison goes ahead and does his usual schtick, but adds some touches in the screenplay that are a bit odd. He has the angel of death come for a visit. The juxtaposition of her walking around and no one being bothered by this is, I guess, slightly humorous, but it adds a darkness that doesn't normally come with show.

It is a typical Robert Altman film, if you know this auteur. Frankly, this is one of his better efforts, and not nearly as long. Here, his bickering and realistic way of filming dialogue (the actors are not improving, but do speak over one another and are always on eye level, as if you were evasdropping on their conversation) fits well. The characters talk, chat,fight and then all the overlapping tones clear as they head out onstage--emphasizing the clear, crisp sound of the radio show.

The skills of the big name actors are also emphasized. Radio is difficult. Emote with only your voice. Sing. Be clear. You can tell each performers background in this regard.

I, frankly, liked the film, compared to my early college years. I've grown, as I've said and thought this to be a nice diversion. But it isn't recommendable. If you like PHC, go see it. Otherwise, unless you have a stake in it (you like Bob Altman, some of the actors or art films in general), it won't do you much.

Movie Review: In Good Company

Before I really get into the crux of this review, I have to say something about it's stars. This movie has four major actors in the pivotal roles. Dennis Quaid, Topher Grace, Scarlett Johanssen and Marq Helsenberger. I've heard of them, I know that. If you've not, well, I think you might be dead. My question?

WHY AREN'T THEY FAMOUS YET?

Okay, so Scarlett has done a crapload of blockbusters and noisemakers, but what of those other three? I don't know about you audiences, I really don't. Yes, I blame you all. I can't blame the filmmakers. They are just following the money. And these actors don't bring in the bucks. So why splash their names on a marquee? Because it isn't worth it to them.

Here's my example. I watched In Good Company. Now in order to prove my point, I have to elaborate on the plot. It's a comedy/drama, not unlike Terms of Endearment in the approach department. Instead, you have a good man (Quaid) a pitchman for a good magazine. He uses clout to get people to buy ads for the periodical. Sadly, the Sport Illustrated title is bought out by a big coporation (not very surprising--they are in the government's pocket as it is) and many jobs are lost. His isn't--instead, a new boss is installed. A young yuppie, Topher Grace, is placed above poor Quaid. Now, get this, he's dating Quaid's 20 year old daughter! And the whole time, Marq, Quaid's wife is pregnant--giving Quaid's character a reason to put up with this crap!

Now, let's flesh this out a little.

It sounds so contrived that when I read it, I thought I was reading a episode of a sitcom.

But here's the thing. All four of these performers are so real, that they never once let it go spinning out of control. There's a skill present that these four hold onto that keeps the film based in a reality we can relate to.

Excellent performances by all.

But movies are a group piece and, really, the fault lies in the filmmakers. Well written, the movie isn't really funny. It's a bit of a downer--with a small message about 'the old ways are still the best ways.' But it's such a long drawn out narrative that we grow bored.

Thank God for Quaid and Grace. We'd be asleep if it weren't for them.

But why, oh why aren't they famous yet? Get Marq OUT of CSI and onto the screen! Quaid? I want to see 20 more of your pictures, stat! Scarlett and Topher? The Spirit Awards are waiting for you guys!