The story and setting for Parallel Mothers all feel familiar territory for Pedro Almodovar who has garnered a career on his melodramas focusing on women, mothers, lovers and usually involving a devastating secret. The colours red and black are heavily featured throughout, as well as the use kitchens and food, all staples of his films in this genre. After his very personal film, Pain and Glory, this film is a step back to what the director does best.
Full review HERE
As Wes Anderson is a director with one of the most distinctive style of filmmaking, there is always that possibility that he may just end up imitating himself. But instead, with The French Dispatch, its as if he’s taken a step back and decided to go in a very different direction. Granted the framing is still the same, the use of cross section is still very in use and the deadpan acting is all there. But instead of one linear story, the film is split into sections, like the title itself, like a magazine. Each story is indeed rife with Wes Anderson-isms but there is something quite different about the entire film. It feels like a last hurrah.
Following the death of the editor-in-chief of The French Dispatch, of the Liberty, Kansas Evening Sun, Arthur Howitzer Jr expressed in his will that the newpaper seize publication. Along with an obituary and a column from the cycling journalist, three articles are included about the arts and artists, politics and culinary arts, tastes and smells.
The film plays out as a visual companion to the final issue of the newspaper/magazine complete with intro and obituary. As a homage to the printed word its wonderful. But the main three stories written feel as if they should have been given more time. This might have worked as a mini-series but I suppose the quick cuts and deadpan acting might not have sustained over 3-4 hours.
Focusing on the three main articles, all the writers are able to bask in the limelight in various ways, no medium left unexplored, whether it is through a talk with slides or through an interview on a talk show, the image of each writer is portrayed differently. A story about a disturbed artist being discovered in prison is joyfully bizarre with the best cast and would probably be a favourite among fans. A story about the student protests as seen through the students and their different encampments as well as the older journalist is thought provoking as well as full of nostalgia for the 60s but is the final story, about a chef who poisons kidnappers that is surprisingly heart-breaking. Jeffery Wright as the journalist Roebuck Wright brings all the emotion in a matter of minutes to the front. All three stories have greater depth to them than you see in trailers and marketing for the film, but this final story has the edge and the more dramatic scenes, complete with animated parts. All these stories are beautifully written coupled with the most amazing production design, as usual. It is a very different experience than Anderson’s other films but one that can be cherished.
Anderson has said that this film is a love letter to journalists with many of the characters inspired by real people. The passion comes across in waves from the intimate close-up moments that have to stop and reflect to the use fantastic use of miniatures and the crosscut scenery and the grand large scale set pieces that really are magnificent. This is the ultimate stand out over the top film that includes 4 stories not 1, as if he wanted to makes sure that everyone had a chance to shine. At times the film does feel overstuffed with ‘names’ but no less enjoyable. The amount of detail that is included is staggering. But this is one of the reasons why Anderson’s films stand out among the rest of Hollywood and the Indie slates. He has a distinct style and casts A list international actors but his writing is NOT what Hollywood wants which is why he keeps his work interesting a fresh, through his writing. It would be great to see Anderson return to his roots of writing, after such a great streak with his last two films, something on a smaller scale would be exciting and of course would be feel less of a farewell.
SPOILERS
Based on the novel by James M. Cain, the story about a woman who separates from her husband and has to provide for her two daughters in 1930s. She gets work as a waitress and soon decides to open her own restaurant. She becomes a success and remarries again but she is forever plagued by her demanding elder daughter, Veda, who looks down on her mother throughout her life, no matter what she does. It seems an unusual plot from Cain as he is known for his crime stories but director Michael Curtiz creates a very different beast entirely.
Changing the ending and parts of the story, Curtiz creates a film noir of sorts with Joan Crawford in the title role. The stereotypical roles of the genre are askew and don’t follow the normal pattern, instead it is the camera angles and the superb lighting, especially in the more dramatic moments that make this one the better films of its genre. The film is seen as flashback from Mildred’s point of view as she explains what has happened in the last 4 years to a police detective after she finds out her second husband has been murdered. Cutting back and forward from the past to the present, it unravels as to who the murderer could be.
Crawford is brilliant as the tortured and troubled Mildred, having come from nothing, working her way up in the world, becoming a successful businesswomen when not many thought she could, should be an achievement but Mildred is torn down by her demanding arrogant daughter Veda. Unlike the original novel, Veda eventually gets her comeuppance. Mildred’s strange devotion to her spiteful daughter is elevated when her youngest Kay, dies suddenly and she puts everything into pleasing Veda which is ultimately her downfall.
Veda is actually part of the cause of Mildred’s divorce and downfall. She says at one point that she believes that Veda looks down on her which is why she seeks her approval. Veda’s hate for her mother and where she is from is unexplained, except for when she blames her mother for spoiling her, she bites the hand that feeds her and thinks she is entitled to a better life for no reason. Veda’s character isn’t given depth beyond her childish demands and selfish plans, leaving much of the dramatic to her mother. Mildred changes throughout the film, her character and confidence but she is plagued by her past and told she is worth nothing, Veda is her reminder of this which is why, when the ties are finally cut, she is distressed and relieved at the same time. She is finally free of her demon and can start again, but this time for herself.
A fantastic film, that may be dark and violent, which isn’t just the murder at the start, at least there is a light at the end of the tunnel.
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This was originally published on Vulturehound in 2017