While I have talked at length before about the nebulous
concept of 'Oscar bait', and how this time of year just before the Oscars is
usually the big dumping ground for its ilk around here, I fear I may have
misrepresented it just a touch. I have usually attributed that term to what
most people consider to be prestige pictures: Period pieces usually dealing
with the important social issue of the day; bonus points if it’s set during
World War II and/or involves Nazis.
Well, only recently by my own admission, I have realised that there is another type of Oscar bait out there: The over-conceptualised, over-cooked 'thought experiments' that are meant to be challenging but, more times than not, usually end up getting slapped with the 'pretentious' label whether it’s warranted or not. It’s the kind of space that arthouse hacks like Malick occupy. Yeah, I more than acknowledge that I may be in the minority on this, but I will not submit when it comes to how much the Academy unconditionally loves that guy and work that feels even remotely like his. Not to say that the hyper-intellectual type of Oscar bait is inherently bad; after all, Academy favourite Charlie Kaufman well and truly fills that gap and he is easily one of the most fascinating, if not always coherent, cinematic minds still working today. Yeah, time to actually put on that film snob hat for once; would be a shame if I didn’t wear it even once.
Well, only recently by my own admission, I have realised that there is another type of Oscar bait out there: The over-conceptualised, over-cooked 'thought experiments' that are meant to be challenging but, more times than not, usually end up getting slapped with the 'pretentious' label whether it’s warranted or not. It’s the kind of space that arthouse hacks like Malick occupy. Yeah, I more than acknowledge that I may be in the minority on this, but I will not submit when it comes to how much the Academy unconditionally loves that guy and work that feels even remotely like his. Not to say that the hyper-intellectual type of Oscar bait is inherently bad; after all, Academy favourite Charlie Kaufman well and truly fills that gap and he is easily one of the most fascinating, if not always coherent, cinematic minds still working today. Yeah, time to actually put on that film snob hat for once; would be a shame if I didn’t wear it even once.
This might be the most ordinary-looking film Kaufman has
ever been involved in. It doesn’t carry any of the working man’s escapism of
his work with Spike Jonze, the pinch of French spice of his work with Michel
Gondry, or even the frenetic and classy sheen of Clooney’s Confessions Of A
Dangerous Mind. I mean, when talking about Kaufman, everyone having the same
face barely reaches the ballpark in terms of how surreal he can get. Not only
that, the story itself is a lot more bare bones than he usually ends up
writing. This is the guy who loves working with multi-layered stories, often
with rather chaotic results like with Adaptation; here, it is basically a love
story that takes place over a two-day period when you get right down to it. The
most abstract the film gets is in a single dream sequence that, with how
weirdly it fits alongside the rest of the production, just didn’t end up
feeling right when all is said and done. I’d even go so far as to say that this
film, more so than his others, feels like he is borrowing from himself for
ideas. Working with puppets? Being John Malkovich. Everyone having the exact
same face and voice? Ditto. An older man with poor self-esteem suddenly falls
for a unique girl, and yet is still unhappy? Adaptation and Synecdoche, New York, the two films that are probably the most
auto-biographical of his entire filmography. The man is actively trying to
limit himself with this production.
However, him going for something a bit more simple might be
the entire point of it. I mean, his last film Synecdoche was so completely
bonkers that it left most critics on the fence about it. Hell, after watching
it, I’m still not entirely sure if I
think it’s good or bad myself. Here, by extreme contrast, everything is made
out to be deceptively normal. The stop-motion, while verging on the Uncanny
Valley and making everyone look like they’re wearing glasses when they clearly
aren’t, still gives a very definite feeling of reality. The set design is very
mundane and, for the most part, the film itself takes place on a single hotel
floor consisting of the hallway and two or three rooms at most. But, that only
serves as a means to draw the audience in further to what is actually happening
in the scenes. Tom Noonan, who seriously needs to get more work after this,
manages to imbue every person he voices with just enough distinction to break
up whatever monotony could possibly take place. And yet, we still get the
feeling that we, just like Michael, are coming across the exact same person
over and over again. Kind of fitting that Michael would be a self-help expert
in customer service as, after dealing with customers day-in day-out for God
knows how long, I imagine that everyone would
start to sound the same.
More so than his love for messing with peoples’ heads,
Kaufman could be best described as a true romantic at heart. He always seems to
be at his best when dealing with what makes us tick and connect with one
another, this being no exception. By stripping away everything else that could
potentially distract from the film’s core, it takes the time to show just how
much this romantic connection means to both Michael and Lisa. After each scene
where Michael has to deal with Everyone Else, seeing him actually able to spend
time on his own is remarkably refreshing. That need for a certain kind of
isolation even comes through with how he interacts with Everyone Else; whether
they are amorous, angry or just plain annoying, all of them seem to want to
help Michael out in some way. Unfortunately, as is the case when you are in
that mindset of utter confusion and disillusion of your surroundings, it
doesn’t do any good.
Then in walks Lisa, and it is kind of shocking how good her
chemistry is with David Thewlis. Like, seriously, making an on-screen
relationship looks this…. pure, for
lack of a better term, shouldn’t be this rare. They’re awkward together in that
way that so many filmmakers try to mimic but only a few of them actually manage
without them just being grating in how awkward they are. The slow pace, with
all the time in the world devoted to them connecting with each other, does lead
to some hokey moments thanks to a couple of Lisa’s platitudes but it never
feels forced. If anything, it is genuinely touching to be able to see two
people make that kind of intimate connection, especially with how well Thewlis
and Leigh play off of each other. It’s a bit of a cliché to describe attraction
to someone else being due to “there’s something special about them”, but we
easily forget that that is just how it feels when you start to fall. Even with
my initial worries concerning the prospect of sex, considering the anatomically
correct puppets as well as the still-lingering memories of Team America: World
Police, their coupling might make for one of the more beautiful moments I’ll
see all year in film.
All in all, this film is literally all about finding a
special someone and how some people just can’t allow themselves to be happy
with that someone. Honestly, there’s a lot to admire about that, both in
concept and in execution. I may not absolutely love Kaufman’s entire body of
work as much as my peers, but when the man gets it right, it is incredible to
behold. I may have my hang-ups about how this doesn't feel like Kaufman at his Kaufman-ist, but then again, this film works so damn well because of its simplicity.
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