Chef

Jon Favreau’s Chef is a fun, character driven movie that has a couple interesting aspects that I’d like to mention. The first is the film’s integration of social media. This film couldn’t have been made in this form even just several years ago, as Twitter and other social media sites are used as not just character aspects but also to further the plot. Some examples of this are when Casper and Percy bond over Percy teaching Casper how to use Twitter, and how the film’s inciting incident is actually spurred by Casper’s tweet to the critic. Percy also aids to the food truck’s success by promoting the trip through social media.

The second aspect is the film’s plot/story arc. In the second half of the film, the main characters don’t face any real setbacks, let alone a major setback in the third act, which is very odd from the standpoint of a traditional screenplay structure. While watching the film, I was expecting something bad to happen to the characters, but it never happened. In my opinion the film still works, but I did find this to be rather unique.

Spirited Away: A Response

There is much love on here for Spirited Away, which is to be expected since this film has had almost universal acclaim worldwide. It has the unique distinction of being both the highest grossing film in Japan, and the winner of the Academy Award for best animated feature that year. Instead of heaping praise or criticism on the film, I’d like to take a slightly different approach by talking about something that caught my eye.

After seeing the film, I looked up Roger Ebert’s review of Spirited Away. In it he writes: “Miyazaki says he made the film specifically for 10-year-old girls. That is why it plays so powerfully for adult viewers. Movies made for "everybody" are actually made for nobody in particular. Movies about specific characters in a detailed world are spellbinding because they make no attempt to cater to us; they are defiantly, triumphantly, themselves.”

In his review, Ebert really champions character driven films. During his prolific career, Mr. Ebert saw thousands upon thousands of films, but this is one that stood out above many others in his mind. I think that we as filmmakers and media creators can learn something from this. Not only does it remind us that films are made for an audience, but also that we must make bold choices to engage that audience.

Like Father, Like Son

Like Father, Like Son was a pleasant surprise. This was one of the two Signs and Wonders picks that I attended this semester going in blind, meaning that I hadn’t heard of it or anything about it, and it turned out to be a very rewarding experience. The switched-at-birth plot device has been done before, but that was never an issue for me. Here it is played out effortlessly, and serves the film perfectly. It could have been gimmicky or manipulative, but it is rather respectfully handled, as these characters are well rounded human beings. We dislike them sometimes, but can still empathize with them. I love films that strive to explore a theme, and Like Father, Like Son is definitely one of those. It’s both a well made film and a meditation on the meaning of family. This is a film that deserves to be seen.

Waitress

Waitress, written and directed by Adrienne Shelly, is a refreshing film. I originally saw this a couple years ago, and it has stuck with me enough that I was looking forward to seeing it again. What’s so refreshing about this film is that it is a non-traditional romantic comedy.

Most films like these have similar elements such as snappy dialogue and charming characters. Waitress has both of these. The traditional elements about this film work very well (Keri Russell and Nathan Fillion both give notable performances), but the film decides to go in a different direction. Instead of following the expected plotline, the film isn’t about Jenna “finding a man”, if you will, but in a way is rather about Jenna taking control of her life. By the end of the film, Jenna has her baby, leaves her abusive husband, ends her affair, and finally starts making pies for herself. This leaves the viewer with a completely different message than most films of its type, and it deserves recognition for that.

Sansho the Bailiff

"Without mercy, Man is like a beast. Even if you are hard on yourself, be merciful to others. Men are created equal."

Sansho the Bailiff was based on a previous story, a fact that is hinted at by the way the film is prefaced. The story of the film gives it a larger-than-life feel, and helps us accept the scope of the plot. One of the film’s strengths is its characters. The film lets us empathize with these characters who have gone through incredible hardship. This is a family that we truly want to see reunited.

The film tells us at the beginning that the story takes place in “an era when mankind had not yet awakened as human beings." This is a fascinating statement alone, but it is pushed further when coupled with the philosophy of the top quote. This film itself could be viewed with a philosophical lense, as it features characters who attempt to be merciful to all, even the most sadistic.

Finally, this film is visually beautiful. While we see this throughout, in the pictured scene it is paired with restraint from the filmmakers that is appropriately haunting.

Music Video Night

My favorite video from this year’s Ballinger music video night was Tom Petty and the Heartbreakers’ “Don’t Come Around Here No More.” It’s a fun and playful, albeit weird video that uses an Alice in Wonderland theme. I like how the first Alice book came out over one hundred years ago, but is still affecting artists. Not only are there many adaptations of the story in existence, but we also see countless retellings and parodies across different mediums. This video is an example of that.

After first seeing the video, I figured that the Alice in Wonderland theme was just used for fun, or just to make an interesting video. According to the song’s wikipedia page, this choice was inspired by a strange experience that the song’s co-writer and producer (David Stewart of Eurythmics fame) had after a show. Interesting.

Jiro Dreams of Sushi

While a large portion of Jiro Dreams of Sushi details the preparation of the sushi, if you dig deeper, you’ll find the story of two sons who are still living in their father’s shadow. This documentary tells us that Jiro has two sons. The younger son left to create a mirror image of his father’s restaurant, while the older son is still working under his father, with the hope of one day taking over. Both sons seem doomed to fail because of their father’s fame. The food critic interviewed in the film mentions how the sushi that the sons make will never be seen as good as Jiro’s, even if it is actually superior in quality.

Another theme that is explored is the pursuit of perfection. His apprentices train for years before they’re allowed to make sushi, and spend weeks just squeezing out a towel. If his restaurant already has the highest rating possible, why does Jiro insist on lengthening his food preparation process? Does he have to change his method so he doesn’t become bored with the process? Jiro’s interest in making and selling sushi seems less like a livelihood or passion, and more like an obsession. Jiro pays strict attention to detail about everything in his restaurant, including the ten-person seating chart at his bar. One can’t help but wonder if Jiro is not only searching for perfection, but happiness as well.

The Trip

From what I’ve seen on here, the reception for The Trip has been mostly lukewarm. I have to disagree with this, as I found it to be satisfying. While I enjoyed the film after my first viewing, I appreciated it more after doing some research on its creation.

This was originally aired as a tv series in Britain, and later edited into a feature film for theatrical release here in the United States. This is unique as most films don’t have this distinction, as well as impressive that the creators were able to make it work as a film in addition to a tv program.

This film is also a mockumentary, as Coogan and Brydon actually play themselves. This never turns into parody, and these characters always feel real. In an interview about the film, Coogan said that he and Brydon simply exaggerated aspects of themselves to enhance the comedy. Much of the dialogue is reportedly improvised as well, which is rare for a non-mumblecore film.

While the film is largely successful because of the humor from its stars, it also has genuine dramatic moments as well. Many others in the class complained that there was no story or plot, which I find to be puzzling. This is a character-driven piece that focuses on the self-discovery of Coogan’s character, so I found the plotting to be appropriate.

Like Water For Chocolate

I first saw Like Water for Chocolate during my freshman year at Signs & Wonders, so it was fun to be able to revisit it my senior year. This was one of my first exposures to the genre of magical realism, so in a way it has been one of my main references for it over the past three years.

When the film starts out we learn that Tita, our main character, is the youngest daughter in a traditional Mexican family and is forbidden to marry, as her duty is to take care of her mother until she dies. This is a believeable and grounded setup within the context of the family. Later on in the film, however, we’re introduced to the magical concept that whenever people eat food that Tita prepares, they begin to feel the emotions that Tita felt when she cooked it. This is played for laughs once or twice, but it eventually becomes a way for Tita to express her passion for Pedro. This premise makes for an enjoyable and surprisingly touching film.

Willy Wonka

Willy Wonka and the Chocolate Factory is truly a special film. Like others in the class, it had been a while since my last viewing. I do have some nostalgia attached to it, but I think that the film stands on its own. I appreciate the dark tone throughout Willy Wonka. While no one would question that this is a children’s film, this element gives the story a unique edge. Not only does it keep the viewer intrigued, but it also adds to Wonka’s character.

One aspect that I was able to appreciate this viewing is Wonka’s dialogue. To add to his quirkiness, Wonka quotes literature, often which is Shakespeare. This aspect of the film would have been a risky one to pull off, but it ended up working well in the film.

There are some interesting facts about the production of the film. Here are some of my favorites:

• The film was originally owned by the Quaker Oats company, as it was created to market their Wonka line of candy bars.

• Roald Dahl is the only credited screenwriter, but the version used in the film was rewritten by David Seltzer
• Gene Wilder accepted his part on the one condition that he could perform Wonka’s entrance somersault.