Here at the Midtown Cinema, we love films about doubles... or so our recent history states: as the psychological thriller, Enemy, leaves our theater, the more dramatic The Face of Love replaces it, telling the story of Nikki (Annette Bening), a woman who lost her husband, Garrett, to a riptide in Mexico. Five years later, she still struggles with her quiet grief: she avoids places that they used to frequent, but is unable to shake off memories of him -- she even has to continue turning away telemarketers who have not crossed Garrett off their list. It is clear that Nikki gets by through the moments with those closest to her: her neighbor, Roger (Robin Williams), and her college-age daughter, Summer (Jess Weixler).
One day, Summer asks if she still goes to LACMA, the art museum that she and Garrett used to frequent, and Nikki decides to go back once more. Flooded with the memories the museum brings back, Nikki is surprised to see a man who looks exactly like Garrett wandering the grounds. It is not her imagination -- the main is named Tom (played by Ed Harris), she discovers in her sleuthing (read: minor stalking), and teaches art at the local university -- and he actually does look exactly like her deceased husband. Nikki strikes up a friendship with him through painting lessons that she doesn't even want, and soon, their friendship buds into a romance. But Nikki conveniently neglects to mention to Tom who he looks like.
Chances are, you know exactly where the story is headed -- but if our protagonist made the right decisions, it wouldn't be much of a movie, now, would it? Nikki decides to take the plunge, trying to fit Tom into her husband's shoes: she dresses him up like Garrett, she takes them to the restaurants they frequent -- she even takes him on a getaway to the very place that he died. At first it seems that she is just too scared to tell him about their resemblance, but over the span of the film you realize that she has no intention at all of letting him in on this detail. Nikki spirals into her own created delusion, spurning those closest to her -- even her daughter -- in her attempt to hold onto Garrett.
The film feels a little like a debut film, and doesn't really push the envelope with a subject that begs for it to do so... The plot is a little predictable, the characters a little flat -- at no fault of the actors, who vie for your affections throughout the film with their performances. It's the screenplay that fails to create that necessary connection with Nikki as she toes the line. Tom actually seems to be the more relatable, and more fleshed out, character. However, it is a beautifully shot film, and is a great (albeit shallow) dip into the concept of chasing after lost love, no matter how wrong it is.
Come check out The Face of Love at the Midtown Cinema this week!
Sunday, March 23, 2014
Sam's Blog - The Grand Budapest Hotel
Wes Anderson's done it again, this time with a film about a big, sugary pink hotel and its delightful employees. The film is helmed by Wes Anderson, whose quick witted, eccentric films have graced our theaters since Bottle Rocket in '96. Since his beginnings, he has gone from an extremely indie filmmaker to perhaps one of the most easily recognizable directors in terms of style, usually making use of the same actors and always, always, giving us that trademark quirky tone that we have come to love and adore.
The Grand Budapest Hotel is no different. It begins with a ridiculously endless series of recollections (and bear with me as we wade through the pool of celebrity guests in the cast): a girl sits beside the bust with the title, "Author", reading the story of a writer (Tom Wilkinson) who looks back at his younger self (Jude Law), who looks back on the time he met Zero Moustafa (F. Murray Abraham), the owner of the forgotten glory, Grand Budapest Hotel, who looks back on the series of events of how he came to own said hotel.
And here our story really begins: the Grand Budapest Hotel resides in the fictional country, Zubrowka, somehow remaining untouched by the "barbaric slaughterhouse we know as humanity". Young Zero (Tony Revolori) becomes a lobby boy at the Grand Budapest Hotel, under the tutelage of Monsieur Gustave H (Ralph Fiennes), the pleasant mannered, perfumed, downright legendary gigolo of a concierge. Monsieur Gustave is not just a playboy, however: he genuinely enjoys people, and he never forgets a face, making him the sort of person to whom many are drawn... he seems to be, in fact, the reason that people come to the hotel in the first place: he has quite the reputation, and attracts a rich, sometimes lonely (and, as Mr. Moustafa points out, blonde) crowd. One lady from this crowd, the elderly Madame D, (Tilda Swinton), dies, leaving Gustave a painting called "Boy With Apple", much to her family's chagrin... most notably, her son, Dmitri (Adrien Brody), who, when it is revealed that Madame D was murdered, sets up a series of events that ultimately shepherds Gustave straight into jail, leaving young Zero to handle things at the Grand Budapest Hotel. Gustave schemes with Zero through letters, conjuring up a way to escape the prison and clear the concierge's name, with the aid of Zero's fiance and baker at Mendl's Bakery, Agatha (Saiorse Ronan).
That abbreviated plot summary does not even cover the rest of the cast: there are guest appearances by Bill Murray, Owen Wilson, Jason Schwartzman, Willem Dafoe, Mathieu Amalric, Jeff Goldblum... there are more, but you get the picture. Ralph Fiennes is delightful -- it may be my favorite role of his so far -- and I hope we see a lot more of Tony Revolori in films to come. To be honest, the amount of characters in the film made it a little hard for any of the other actors to really shine, though they all did a fantastic job regardless. That may be the only complaint I can find for this film: there was a lot packed into the hour and forty minutes that Wes Anderson gave us, and it may have been just too much to allow character development... but the plot was precise, with beat after beat of comical farce to keep us engaged.
The story of the Grand Budapest Hotel also lets us in on the secret of living fully under persecution. The lighthearted nature of the film may not have captured an accurate depiction of what this situation would be like, but it does capture the truth and essence of a world in which finding something to look fondly on or laugh about is the only thing that will get you through the day. We see this as Zero Moustafa becomes older, and experiences the inevitable heartbreak that life brings: he is able to take it with stride, keeping his memories of the good times and enjoying what he has left in front of him.
Come see the film at the Midtown Cinema! You'll be sure to enjoy yourself.
The Grand Budapest Hotel is no different. It begins with a ridiculously endless series of recollections (and bear with me as we wade through the pool of celebrity guests in the cast): a girl sits beside the bust with the title, "Author", reading the story of a writer (Tom Wilkinson) who looks back at his younger self (Jude Law), who looks back on the time he met Zero Moustafa (F. Murray Abraham), the owner of the forgotten glory, Grand Budapest Hotel, who looks back on the series of events of how he came to own said hotel.
And here our story really begins: the Grand Budapest Hotel resides in the fictional country, Zubrowka, somehow remaining untouched by the "barbaric slaughterhouse we know as humanity". Young Zero (Tony Revolori) becomes a lobby boy at the Grand Budapest Hotel, under the tutelage of Monsieur Gustave H (Ralph Fiennes), the pleasant mannered, perfumed, downright legendary gigolo of a concierge. Monsieur Gustave is not just a playboy, however: he genuinely enjoys people, and he never forgets a face, making him the sort of person to whom many are drawn... he seems to be, in fact, the reason that people come to the hotel in the first place: he has quite the reputation, and attracts a rich, sometimes lonely (and, as Mr. Moustafa points out, blonde) crowd. One lady from this crowd, the elderly Madame D, (Tilda Swinton), dies, leaving Gustave a painting called "Boy With Apple", much to her family's chagrin... most notably, her son, Dmitri (Adrien Brody), who, when it is revealed that Madame D was murdered, sets up a series of events that ultimately shepherds Gustave straight into jail, leaving young Zero to handle things at the Grand Budapest Hotel. Gustave schemes with Zero through letters, conjuring up a way to escape the prison and clear the concierge's name, with the aid of Zero's fiance and baker at Mendl's Bakery, Agatha (Saiorse Ronan).
That abbreviated plot summary does not even cover the rest of the cast: there are guest appearances by Bill Murray, Owen Wilson, Jason Schwartzman, Willem Dafoe, Mathieu Amalric, Jeff Goldblum... there are more, but you get the picture. Ralph Fiennes is delightful -- it may be my favorite role of his so far -- and I hope we see a lot more of Tony Revolori in films to come. To be honest, the amount of characters in the film made it a little hard for any of the other actors to really shine, though they all did a fantastic job regardless. That may be the only complaint I can find for this film: there was a lot packed into the hour and forty minutes that Wes Anderson gave us, and it may have been just too much to allow character development... but the plot was precise, with beat after beat of comical farce to keep us engaged.
The story of the Grand Budapest Hotel also lets us in on the secret of living fully under persecution. The lighthearted nature of the film may not have captured an accurate depiction of what this situation would be like, but it does capture the truth and essence of a world in which finding something to look fondly on or laugh about is the only thing that will get you through the day. We see this as Zero Moustafa becomes older, and experiences the inevitable heartbreak that life brings: he is able to take it with stride, keeping his memories of the good times and enjoying what he has left in front of him.
Come see the film at the Midtown Cinema! You'll be sure to enjoy yourself.
Tuesday, March 11, 2014
Sam's Blog - Enemy
What would you do if you discovered there was another you out there? Would you leave it at coincidence, or would you have to know for sure? Denis Villenueve's film, inspired by Jose Saramago's book The Double, is an enigma, revealing a smoggy megalopolis in which the line between reality and surreality blurs.
Jake Gyllenhaal plays Adam, a withdrawn history professor whose routine blandly consists of lecturing, grading, and sleeping with his girlfriend. One day he watches a film suggested by a colleague, and discovers an actor who is his exact physical double. Upon trying to contact the actor, named Anthony, he discovers that they sound the same, and they look the same -- right down to the scars on their chests. But their personalities seem to be the exact opposite: while Adam is quiet, introverted, and unsure, Anthony is scheming and quick to anger. And they are on different pages in life, too; Anthony is married with a kid on the way and boasts a beautiful apartment, while a comment is made in the film about Adam's inability to stay with a partner for too long.
I had some qualms about Adam's initial reaction to this bizarre situation... the fact that he kept this discovery to himself seemed a little too farfetched, even with his reserved character, and he seemed much too inclined to stalk Anthony. However, the plot has to get rolling somehow, and once the two meet, everything else fades away: the viewer's one goal at this point is to figure out what in the world is going on.
For those of you expecting a fast-paced thriller, think again... The story builds slowly, with arachnic imagery entwined into many of the shots, and never completely concludes the mystery: are they clones? Is it perhaps a case of split personality? None of the characters ever interact with both Adam and Anthony together, and it is clear that Adam and Anthony have opposing personalities, the two sides of the same coin, but there are details that suggest that this idea may be wrong. However, there is hope that sense will be made; there seem to be clues dropped along the way, and by the end of the film, with its bloodcurdling last shot, the answer seems just out of reach.
Regardless of the frustration of an unsolved mystery, the film is beautiful, with a score that will raise the hairs on your neck. If you're looking for a film that will lead to conversation, come watch Enemy at the Midtown Cinema, and you will certainly have something to talk about!
Jake Gyllenhaal plays Adam, a withdrawn history professor whose routine blandly consists of lecturing, grading, and sleeping with his girlfriend. One day he watches a film suggested by a colleague, and discovers an actor who is his exact physical double. Upon trying to contact the actor, named Anthony, he discovers that they sound the same, and they look the same -- right down to the scars on their chests. But their personalities seem to be the exact opposite: while Adam is quiet, introverted, and unsure, Anthony is scheming and quick to anger. And they are on different pages in life, too; Anthony is married with a kid on the way and boasts a beautiful apartment, while a comment is made in the film about Adam's inability to stay with a partner for too long.
I had some qualms about Adam's initial reaction to this bizarre situation... the fact that he kept this discovery to himself seemed a little too farfetched, even with his reserved character, and he seemed much too inclined to stalk Anthony. However, the plot has to get rolling somehow, and once the two meet, everything else fades away: the viewer's one goal at this point is to figure out what in the world is going on.
For those of you expecting a fast-paced thriller, think again... The story builds slowly, with arachnic imagery entwined into many of the shots, and never completely concludes the mystery: are they clones? Is it perhaps a case of split personality? None of the characters ever interact with both Adam and Anthony together, and it is clear that Adam and Anthony have opposing personalities, the two sides of the same coin, but there are details that suggest that this idea may be wrong. However, there is hope that sense will be made; there seem to be clues dropped along the way, and by the end of the film, with its bloodcurdling last shot, the answer seems just out of reach.
Regardless of the frustration of an unsolved mystery, the film is beautiful, with a score that will raise the hairs on your neck. If you're looking for a film that will lead to conversation, come watch Enemy at the Midtown Cinema, and you will certainly have something to talk about!
Sam's Blog - Gloria
I think there's a universal fear that women have that one day they'll find that
they've grown old and become a lonely cat lady. Not that there's anything wrong with that -- except for the loneliness part -- but society has taught us that there are certain expectations with age, and one of those expectations is that when women grow older, they pair themselves off with a nice man and settle down.
In Sebastian Lelio's film, we meet a delightful character who doesn't give a damn about expectations.
Years after her divorce, Gloria, a 50-something, extroverted and confident mother, has decided that sometimes all she needs is just a little fun. She occasionally goes dancing by herself at the nightclub, striking up conversations with strangers and quickly finding dance partners. And while she seems to enjoy herself, it is clear that she is still lonely underneath it all. Her desire for company and attention is pronounced by the voicemails she leaves on her son and daughter's phones.
But her luck seems to change when one night she meets a man. Rodolfo is an ex-naval officer who has recently gone through a divorce; there is an air of uncertainty about him that makes him immediately likeable, at least as far as Gloria is concerned. They hit it off, and soon find themselves wrapped up in a passionate relationship, complete with dancing, paintball and bungee jump dates, and sexual enjoyment... but Gloria's new squeeze is not entirely the perfect man; the incessant ringing of his cell phone is a blatant flag that he is still deeply attached to his ex-wife and needy, fully grown but immature daughters. As Gloria deals with the problems that arise, it is very easy for us to relate with her conflict between between being with someone who frustrates her and being alone.
What is so great about this film is that it encapsulates a strong female character: she still has her faults and character flaws -- she may smoke and drink a little too much, she has a history of poor taste in men, etc. -- but she is still a spunky, loving, altogether likable character. Gloria is a breath of fresh air to an audience who sees countless stories of young love and Hollywood-driven stereotypes... she teaches us to love who we are, including our faults and insecurities.
Overall, this is definitely a film to watch. Come see it this week at the Midtown Cinema!
they've grown old and become a lonely cat lady. Not that there's anything wrong with that -- except for the loneliness part -- but society has taught us that there are certain expectations with age, and one of those expectations is that when women grow older, they pair themselves off with a nice man and settle down.
In Sebastian Lelio's film, we meet a delightful character who doesn't give a damn about expectations.
Years after her divorce, Gloria, a 50-something, extroverted and confident mother, has decided that sometimes all she needs is just a little fun. She occasionally goes dancing by herself at the nightclub, striking up conversations with strangers and quickly finding dance partners. And while she seems to enjoy herself, it is clear that she is still lonely underneath it all. Her desire for company and attention is pronounced by the voicemails she leaves on her son and daughter's phones.
But her luck seems to change when one night she meets a man. Rodolfo is an ex-naval officer who has recently gone through a divorce; there is an air of uncertainty about him that makes him immediately likeable, at least as far as Gloria is concerned. They hit it off, and soon find themselves wrapped up in a passionate relationship, complete with dancing, paintball and bungee jump dates, and sexual enjoyment... but Gloria's new squeeze is not entirely the perfect man; the incessant ringing of his cell phone is a blatant flag that he is still deeply attached to his ex-wife and needy, fully grown but immature daughters. As Gloria deals with the problems that arise, it is very easy for us to relate with her conflict between between being with someone who frustrates her and being alone.
What is so great about this film is that it encapsulates a strong female character: she still has her faults and character flaws -- she may smoke and drink a little too much, she has a history of poor taste in men, etc. -- but she is still a spunky, loving, altogether likable character. Gloria is a breath of fresh air to an audience who sees countless stories of young love and Hollywood-driven stereotypes... she teaches us to love who we are, including our faults and insecurities.
Overall, this is definitely a film to watch. Come see it this week at the Midtown Cinema!
Sam's Blog - Better Living Through Chemistry
Better Living Through Chemistry is exactly what you'd expect: it's a safe, lighthearted film about a pharmacist whose miserable suburban life, complete with crazy wife and son, is flipped on its head when he begins cavorting with a rich married woman and abusing the privileges of his pharmacy to do drugs. Doug Varney (Sam Rockwell) is stuck with an intimidating, exercise-crazy wife (Michele Monaghan) whose father has taken over his pharmacy, and a rebellious son. When his unreliable delivery man flakes out, Doug has to do the prescription deliveries himself, in the process meeting Elizabeth (Olivia Wilde), a using, hoity toity wife of a rich man who immediately takes a liking to Doug. The two begin a relationship filled with sex, drugs, and criminal activity. While the film boasts of a great cast, their performances are a little overrun by the softened, unrealistic feel of the story.
The sequence of events start off a little wobbly (the young, beautiful, high class woman would of course set her sights on a middle-aged doormat of a pharmacist, right? I expected there to be a catch here, but there wasn't), and it keeps getting wobblier from there, as the first two acts basically sketch out a druggie's fantasies. Elizabeth convinces Doug to start concocting his own mixes at the pharmacy (so says the unnecessary voiceover by Jane Fonda), and soon he becomes more confident and lively through the aid of his self-medication. He even kickstarts his life of crime, having a bonding moment with his son over a broken sign and windows, and scheming to break Elizabeth free from her marriage via widowing.
It is not until an officer of the DEA starts snooping around that Doug even remotely begins to panic. However, where your average dark comedy would now allow the protagonist's antics to catch up to him, the third act has Doug getting off pretty easy -- though the whirlwind of events that got him off the hook were pretty clever -- and we're left wondering "what if".
There is, however, still something to be said about the lighthearted tone of the film. Sure, the first two acts have a lot of face palming moments, but by the time the third act hits, you start to enjoy yourself. The key is to view the film through the lens of fun, because that's exactly what this film is aiming for; there don't seem to be any underlying messages: it is simply a story about a guy who wants out of his current life.
Now playing at the Midtown Cinema!
The sequence of events start off a little wobbly (the young, beautiful, high class woman would of course set her sights on a middle-aged doormat of a pharmacist, right? I expected there to be a catch here, but there wasn't), and it keeps getting wobblier from there, as the first two acts basically sketch out a druggie's fantasies. Elizabeth convinces Doug to start concocting his own mixes at the pharmacy (so says the unnecessary voiceover by Jane Fonda), and soon he becomes more confident and lively through the aid of his self-medication. He even kickstarts his life of crime, having a bonding moment with his son over a broken sign and windows, and scheming to break Elizabeth free from her marriage via widowing.
It is not until an officer of the DEA starts snooping around that Doug even remotely begins to panic. However, where your average dark comedy would now allow the protagonist's antics to catch up to him, the third act has Doug getting off pretty easy -- though the whirlwind of events that got him off the hook were pretty clever -- and we're left wondering "what if".
There is, however, still something to be said about the lighthearted tone of the film. Sure, the first two acts have a lot of face palming moments, but by the time the third act hits, you start to enjoy yourself. The key is to view the film through the lens of fun, because that's exactly what this film is aiming for; there don't seem to be any underlying messages: it is simply a story about a guy who wants out of his current life.
Now playing at the Midtown Cinema!
Monday, March 10, 2014
Sam's Blog - Like Father, Like Son
The idea has been done before: not only have there been several films in the past about babies being accidentally switched in the hospital, but there is also a current show called (surprise, surprise) Switched at Birth. However, it is interesting to note that this plot idea seems to have been more of an American trend as of late... which is why I was hooked when I heard that there was a Japanese take on such a story, Hirokazu Kore-eda's Like Father, Like Son. Japanese culture puts an emphasis on respect and family, and I was excited to see to what level this film would take the concept. I was not disappointed.
The film focuses on one side of the baby swap, the Nonomiya family. Ryota is a hardworking business man who sees his office more than his family; when he and his wife, Midori discover that six year old Keita is not their real son, they meet the family that got entangled with theirs: Yudai and Yukari Saiki, and six year old Ryusei. It is a trying time for both couples as they try to decide what to do, and Ryota's lawyer suggests that the families straighten out the issues within six months, when the two boys will begin school.
The two families are, as one would expect from such a story, complete opposites: the Nonomiyas teach their son to be independent and well-rounded (he's taking piano lessons and he's all set to go to private school), and the Saikis are shopkeepers, the father spending most of his time being lazy and playing with their three children. This contrast is a stress point for Ryota, whose own upbringing consisted mostly of sterility and precision; in fact, the parallels are clear when the Saikis accuse Ryota of barely knowing the son he did have for six years. This is every bit as much a character study for Ryota as a harrowing story about a baby swap: although somewhat lacking in the motherly perspective on the issue (the film briefly touches on Midori's guilt for having not recognized her own flesh and blood), Ryota's family background is revealed, helping us to understand why he is the way he is regardless of whether we agree with him or not.
Darkened scenes and silhouettes are plentiful in the film's beautiful cinematography, reflecting the uncertainty and misery of the characters. By the end of the film, there is no way your heart will not ache for any of the characters as they finally make their decisions. Like Father, Like Son is a touching story that will really get you thinking... Now playing at the Midtown Cinema! Come check it out.
The film focuses on one side of the baby swap, the Nonomiya family. Ryota is a hardworking business man who sees his office more than his family; when he and his wife, Midori discover that six year old Keita is not their real son, they meet the family that got entangled with theirs: Yudai and Yukari Saiki, and six year old Ryusei. It is a trying time for both couples as they try to decide what to do, and Ryota's lawyer suggests that the families straighten out the issues within six months, when the two boys will begin school.
The two families are, as one would expect from such a story, complete opposites: the Nonomiyas teach their son to be independent and well-rounded (he's taking piano lessons and he's all set to go to private school), and the Saikis are shopkeepers, the father spending most of his time being lazy and playing with their three children. This contrast is a stress point for Ryota, whose own upbringing consisted mostly of sterility and precision; in fact, the parallels are clear when the Saikis accuse Ryota of barely knowing the son he did have for six years. This is every bit as much a character study for Ryota as a harrowing story about a baby swap: although somewhat lacking in the motherly perspective on the issue (the film briefly touches on Midori's guilt for having not recognized her own flesh and blood), Ryota's family background is revealed, helping us to understand why he is the way he is regardless of whether we agree with him or not.
Darkened scenes and silhouettes are plentiful in the film's beautiful cinematography, reflecting the uncertainty and misery of the characters. By the end of the film, there is no way your heart will not ache for any of the characters as they finally make their decisions. Like Father, Like Son is a touching story that will really get you thinking... Now playing at the Midtown Cinema! Come check it out.
Wednesday, March 5, 2014
Sam's Blog - The Wind Rises
When I first heard Hiyao Miyazaki's announcement that The Wind Rises would be his last film before retirement, I was heartbroken. Miyazaki has captured the hearts of young and old alike with his past films -- My Neighbor Totoro, Oscar winner Spirited Away, and Oscar nominee Howl's Moving Castle, just to name a few. The stories he brings to the screen are magical and breathtakingly beautiful; watching them is like looking at a series of paintings. However, I found out that Miyazaki recently revoked his retirement (he's apparently tried to retire six times before), so I am relieved to say that there will be more to come after The Wind Rises... though that fact does nothing to deteriorate the brilliance of this story.
Scoring an Oscar nomination itself, this fictionalized biography follows Japanese engineer Jiro Horikoshi from his childhood, when the nearsighted boy realizes he will never be a pilot, all the way to adulthood, as his career designing fighter planes takes off (sorry, couldn't resist) in World War II. Jiro, polite and kind-hearted from the beginning, is quite literally never able to keep his head out of the clouds -- he loves airplanes, even to the point of dreaming up conversations with Italian aeronautical engineer Caproni, from whom he takes much inspiration. And as an adult, his love for his work even competes for his attention with the woman he loves.
What is probably most interesting to think about is the different perspective that the story opens up to you, not only revealing the Japanese side of WWII, but also presenting art as something that surpasses all the ugly purposes we attach to it. Jiro's love for airplanes enabled him to look past the fact that he was creating fighter planes for the war... the structure and design was all he cared to focus on.
For those who love Miyazaki for his whimsical surrealism, it isn't quite as prevalent in this film, but fear not -- there are still the dream sequences, and we even get a little glimpse of animism in the foley work, some of which is clearly derived from the human voice. And the visuals are gorgeous: the scenery is breathtaking, whether it's the Japanese countryside or blue skies. There were times in the film where the story seemed to drag just a bit, but the artwork allowed me to pass the time until my attention was caught again, and I was once more immersed in Jiro's tale.
The Wind Rises is now playing at the Midtown Cinema, so come on over and give it a go!
Scoring an Oscar nomination itself, this fictionalized biography follows Japanese engineer Jiro Horikoshi from his childhood, when the nearsighted boy realizes he will never be a pilot, all the way to adulthood, as his career designing fighter planes takes off (sorry, couldn't resist) in World War II. Jiro, polite and kind-hearted from the beginning, is quite literally never able to keep his head out of the clouds -- he loves airplanes, even to the point of dreaming up conversations with Italian aeronautical engineer Caproni, from whom he takes much inspiration. And as an adult, his love for his work even competes for his attention with the woman he loves.
What is probably most interesting to think about is the different perspective that the story opens up to you, not only revealing the Japanese side of WWII, but also presenting art as something that surpasses all the ugly purposes we attach to it. Jiro's love for airplanes enabled him to look past the fact that he was creating fighter planes for the war... the structure and design was all he cared to focus on.
For those who love Miyazaki for his whimsical surrealism, it isn't quite as prevalent in this film, but fear not -- there are still the dream sequences, and we even get a little glimpse of animism in the foley work, some of which is clearly derived from the human voice. And the visuals are gorgeous: the scenery is breathtaking, whether it's the Japanese countryside or blue skies. There were times in the film where the story seemed to drag just a bit, but the artwork allowed me to pass the time until my attention was caught again, and I was once more immersed in Jiro's tale.
The Wind Rises is now playing at the Midtown Cinema, so come on over and give it a go!
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