Showing posts with label indie. Show all posts
Showing posts with label indie. Show all posts

Saturday, June 11, 2011

IMPROMPTU


James Lapine, 1991
Starring: Hugh Grant, Judy Davis, Bernadette Peters, Julian Sands

Despite the fact that it's not normally the type of film I would watch, I really adore Impromptu, an early '90s film based on the romance of musician Frederic Chopin and writer George Sand. Hugh Grant has a terrible Polish accent, but does a surprisingly good job as the sensitive, sickly Chopin. Judy Davis really shines as the headstrong, rebellious George Sand and essentially steals the film.

Let me take a brief interlude and tell you about my endless love for biographies of artists. It's a bizarre compulsion, considering my other tastes, but I can't help myself. I usually prefer the literary form, but I'll watch almost any piece of trash that documents the life of an artist I enjoy. I could probably start a blog covering these alone. I just finished reading Richard Ellman's MONSTER biography of Oscar Wilde, which I highly recommend and I'm about to start one on the Marquis de Sade.

The relevance there is that if you're not into historical biography, this movie probably isn't for you. Overall Impromptu is an endearing, entertaining film and tells a different kind of love story that you would normally find in mainstream cinema. I would also say that while it is a cheeseball movie, it's directed at a different audience than your normal cable-addicted, blockbuster-viewing middle American audience. Seeing as all of the main characters are major musical and literary figures of the nineteenth century, I would like to imagine that the target audience is a little better educated, which is probably why this film got good reviews, but not much public attention.

It tells the story of two artists with widely different personalities, who happen to meet and, after a number of amusing difficulties, fall in love. Amantine-Lucile-Aurore Dupin, better known by her nom de plume of George Sand, wrote scandalous romance novels and paraded around town dressed as a man. She was famous for her divorce, subsequent affairs, and for pretty much not giving a shit what other people thought of her life style. Chopin, who everyone should know and love, is obviously one of the greatest musical geniuses of the nineteenth century. In his private life he was sickly and sensitive, probably because no one expected him to live for very long.

George is desperate to escape Paris and her latest failed affair. At a salon, she overhears Chopin's music and falls desperately in love with it and becomes obsessed with meeting him. She is invited to a country get away with a group of fellow artists: Chopin's friend and fellow musician Liszt, his mistress Marie D'Agoult, George's ex-lover and fellow writer Alfred de Musset, and the painter Delacroix. Their hosts are completely ridiculous -- the duchess is an artistically overachieving bumbler (played hilariously by Emma Thompson) and her husband hates all the artists. George only wants to get to know Chopin, but matters are complicated by D'Agoult. She gives George bad advice on how to woo Chopin and then tries to steal him for herself. To make things worse, George's most recent ex shows up and demands to fight for her honor. How will she ever get Chopin to herself?

While I wouldn't say this is a serious movie by any stretch of the imagination, it's sweet and entertaining. It puts two completely different people with an obvious attraction together and shows how they work out their difficulties, both external and internal. Both characters are terrified of intimacy, which they express in different ways. It all works out in the end though, like any romantic comedy.

This is available in a pretty cheap edition. There are no extras, though I'm not sure that any are necessary. I recommend it, especially if you're in the mood for historical biography and you don't want something as intense as, say, Amadeus.

HEDWIG AND THE ANGRY INCH


John Cameron Mitchell, 2001
Starring: John Cameron Mitchell, Miriam Shor, Michael Pitt

Hedwig is one of those films I've seen over and over in the last eight years and it always surprises me when I meet people who haven't yet seen it. I recently re-watched it and decided I owed the film a glowing review, just in case another of those late-to-the-game stragglers was reading.

Based on the very successful Off Broadway musical by John Cameron Mitchell and Stephen Trask, Hedwig and the Angry Inch is basically the Rocky Horror of the decade. Transsexual East German Hedwig (John Cameron Mitchell) tours the US singing songs about her trials in life and love. After undergoing a botched sex change operation to escape East Berlin with her American Army husband, she goes through a divorce, struggles to make ends meet, and starts a band. After writing a number of beautiful rock/punk songs, they are stolen by her reluctant teenage lover Tommy, who goes on to be an internationally famous rock star. She responds by touring with her band, the Angry Inch, made up of Eastern European rockers and her spouse, a downtrodden transgendered (this time female to male) back up vocalist. Hedwig spirals out of control but eventually learns some importance lessons about love, identity, and sexuality.

The story is imaginative, the songs are catchy, and John Cameron Mitchell is fantastic. I think the film benefited greatly from the play's long development process, which usually occurred during live performances. It received a lot of critical praise and won a number of important awards, particularly at Sundance, but didn't do well commercially. Big surprise. Middle America doesn't seem to understand transsexuality... or modern musicals.

Though not perfect by any means, the visual world of the film is charming and daring. It literally bursts with color and creativity and makes an acceptable metamorphosis from stage to screen. The costumes and sets are beautiful, as well as the transitions from dialogue to song. The only thing I have a real problem with are the drawings and animations occasionally used to explain back-story. I understand it is difficult to convey the realm of abstract emotional imagination in film, but doing it with drawings feels cheap and unfulfilled (I'm looking at you too, Julie Taymor). The most wonderful scenes of the film are when Hedwig's character addresses the audience directly -- these are moments of wit, humor, and pathos.

Hedwig comes highly recommended. The version I'm reviewing is the single disc New Line Platinum release, which comes with a few tasty special features like deleted scenes and a documentary. I have yet to see Mitchell's last film, Short Bus, though I'm very much looking forward to it, as well as his newest project Rabbit Hole, which bizarrely stars Nicole Kidman.