Closer

Tags

2000's, Clive Owen, Closer, Drama, Jude Law, Julia Roberts, Mike Nichols, Natalie Portman

Film Title

Closer

Director

Mike Nichols

Starring

• Julia Roberts as Anna
• Jude Law as Dan
• Natalie Portman as Alice
• Clive Owen as Larry

Based on a play, Closer, as directed by Mike Nichols, brutally tears apart the cruelty and manipulative nature of people when it comes to relationships. It’s not cosy watching, but a bruising and frank exposure of betrayal and hurt, aided by the fine direction and four performances at the centre of it all.

Closer begins with obituary writer Dan catching the eye of pretty, spiky haired American Alice on the streets of London. After exchanging glances, Alice is hit by a car but is not seriously injured. Following this, Dan and Alice become romantically involved with each other. Dan is an aspiring writer who speaks of the greatness and depth of love, while Alice is a stripper who doesn’t reveal a lot about herself though seems to be a largely naive young lady looking for something. Later, Dan has written his book( which he has based partly on what Alice has told him about her life) and has his picture taken by the distant photographer Anna, who he can’t help but feel attracted to. She resists his advances and he decides to get even. Frequenting a naughty dating site, he pretends to be Anna and talks with Larry, an alpha-male dermatologist. Dan sets the two up, yet after the initial awkwardness of what they discover was Dan’s doing, Anna and Larry begin to hit it off. It is here that events begin to snowball for everyone as crossed wires and brutal betrayals plague the group and start an unending run of misery for all. Throughout the film, the four people in this love square swap and wreak havoc on their lives as they toy with feelings and the very fabric of attraction.

The dexterous Mike Nichols is on great form with this relationship drama, delving into the darkness with a withering eye and complex touch. Nichols has successfully charted the destructive essence of flawed people in Who’s Afraid of Virginia Woolf? and succeeds again with how he dives into a harsh and relentlessly honest confrontation of the urban relationships and the harsh betrayals the four pull on each other. He refuses to sweeten anything for the audience, which deserves applause for not being cowed or overly smooth. The mess that Anna, Dan, Alice and Larry is all by their own actions and we never forget that. Even the moments of humour have barbed and caustic sting to them, mocking how these people may not even know what love is considering the way they hurt and inflict harm on each other. Now even those who don’t know that Closer is based on a play will be sure to guess as soon as the quartet open their mouths. There is something literate yet strangely intimate about the dialogue, which goes for the jugular with progressively raw and savage language. Closer sports some of the most adult and brazenly sexual dialogue you are ever likely to hear in a movie. And the fact that Closer feels very much like a play on film will either turn you off or on. Some of it does feel not very cinematic, though in part that is probably largely the point of it. For me, I found the structure and unusual intimacy compelling and uncompromising. Closer jumps forward in time without the easy use of giving us title cards, letting the script fill in some of what has transpired off-screen and leaving the rest up to you. I found myself quite riveted by this approach as it refused to give any respite and truthfully exhibits the easiness with which this group hops in and out of bed and affections with each other. Closer may deal with the themes of love and adultery, but it is far from a raunchy film. It goes under the microscope of attraction to pull out the ugliness in humans when it comes to the heart and sex. Even a scene of Alice stripping and teasing Larry is turned far away from pornographic fantasy into a battle of wills, with Alice getting the upper hand and ironically exposing very little. The limited use of music, save for a few instances of opera or background melodies in club settings, makes it possible for the harsh and piercing core of the film to really surface and linger.

With this kind of film the acting has to be something to form a deep impression, thankfully the four actors of the piece are more than up to that task. Julia Roberts, who is known for being smiley and charming in movies, turns it right down to star as the aloof Anna. I liked how Roberts wasn’t afraid to play this type of character, whose completely spineless and ambivalent actions are just one of many instances of callous behaviour shared by everyone. Jude Law is good casting as the descriptive but smug Dan, who believes he knows everything yet is far from being a figure of model actions. Law has that ability to really show the ugliness and loathing of a character, that is finely tuned to the part of Dan. Natalie Portman is spectacular in one of her best roles. It’s her understanding of Alice’s many contradictions and mystery that makes the role so memorable. Sifting through the layers of the character, from innocent and vulnerable to cold and seductive, Portman doesn’t miss a beat. It’s truly a credit to her that we think we know Alice for a lot of the film and then we are surprised by the little suggestions that she may not be the most angelic member of this quartet, even though it largely seemed to be that way. It’s a daring and naughty part that calls for Portman to show some skin but not reveal a lot outwardly, a challenge that she rises to and delivers a hypnotic piece of work. Filling the last angle of this love square is a ferocious turn from Clive Owen. He essays Larry as a man who is very charming and frequently the dominant person, but little by little the brute force of him comes pouring out in an explosive way. His anguish and brutal mouth are palpably played by Owen and made all the more shocking due to the intensity of his delivery. All of the principal actors are at the top of their respective games, with Natalie Portman and Clive Owen really burning into the mind.

A cutting examination of modern relationships and the tangled parts that result in anguish, Closer retains a theatrical air that can get a bit heavy-handed, yet that should not detract from the sterling quartet of actors and the acute eye of Mike Nichols behind the camera. Definitely a film that won’t be for everyone, but for those who want an adult drama that doesn’t beat around the bush, Closer offers more than enough to satisfy.

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Working Girl

Tags

1980's, Alec Baldwin, Comedy, Harrison Ford, Joan Cusack, Kevin Spacey, Melanie Griffith, Mike Nichols, Oliver Platt, Sigourney Weaver, Working Girl

Film Title

Working Girl

Director

Mike Nichols

Starring

• Melanie Griffith as Tess McGill
• Harrison Ford as Jack Trainer
• Sigourney Weaver as Katharine Parker
• Joan Cusack as Cynthia
• Alec Baldwin as Mick
• Oliver Platt as David Lutz
• Kevin Spacey as Bob Speck

Working Girl is an effervescent and feel good comedy from Mike Nichols, that satirizes the corporate business world and conveys a woman grabbing the opportunity to make something of herself. Light and funny yet also intelligent, this combination, when aided by a very accomplished cast ensures Working Girl is a triumph.

Having just turned 30, Staten Island raised secretary for a stockbroker Tess McGill wishes for something more and wants a job of an executive nature. Sadly, no matter how hard she strives, nothing much seems to come of her diligence. And after a run in with her boss, she is reassigned to a financial firm. She is to be the secretary for Katharine Parker; a seemingly affable and powerful woman who appears to take Tess under her wing and encourages her to pitch ideas. Tess comes up with a pretty neat idea for a lucrative merger that she passes by Katharine, but nothing seems to come of it. Then Katharine is injured during a skiing trip in Europe, which enables Tess to look after business while she recovers. It is here that Tess discovers that Katharine was about to go forward with her idea, without giving her any credit. But two can play at that game and Tess decides that is she wants to make her name for herself, she must take action. And action is what she takes, by styling herself into the persona of a higher executive. Though a risky move, her smarts and innate mind for business make up her artillery as she mounts her idea to a potential merger. Along the way, she enlists the help of the handsome executive Jack Trainer, who could be very handy in aiding her business plans. The thing is Jack believes that Tess is someone higher up in the job than what she is because she is so convincing with the ins and outs of making deals, and Tess manages to keep her proper status this under wraps though. Along the way, Tess and Jack develop romantic feelings for the other. Tess finds herself on the cusp of closing this deal and winning Jack, but a spanner is put in the works with the return of conniving Katharine.

Mike Nichols has always been a director who I admire, mainly for his perceptive probing of people and his approach to the characters. He infuses Working Girl with a funny surface that chimes well with the personable elements of the story, but like always, he cuts a bit deeper and has a ball dissecting big business in New York and the often ruthless tactics employed in it. Nichols work has a crisp and unobtrusive approach to it, knowing exactly when to use the camera for something different and when to just let things flow effortlessly. A stellar example of his craftsmanship is the opening that circles the Statue of Liberty while following Tess on her journey into the concrete jungle, the feeling of enormity and big dreams is very strong here. You get the best of both worlds with Mike Nichols in the director’s chair; on one hand there is the self-made Cinderella story with oodles of 80’s style and then a witty examination of someone striving to make it big in a cutthroat world of sharks. There are those who will view Working Girl with cynicism for its feel good overtones, mainly stemming from the idea that someone can succeed in this kind of world with simply pluck and intelligence( which I could understand, but don’t think it detracts from the enjoyment of it.) But to think of the film purely like that is to miss the rousing and inspiring nature of it, which will win over even the most dejected and grumpy person, as underdog Tess takes destiny and shapes it for herself. You seriously will find it hard not to laugh, due to the sparkling dialogue from Kevin Wade and screwball tropes that are updated to a world of shoulder pads and big hair, befitting of the 80’s colour and atmosphere. And the romance in the film is thankfully something that doesn’t descend into ridiculousness that could have seriously dragged the film down. In actual fact, it extended the enjoyable factor watching Tess and Jack put their heads together and slowly fall for the other, in a dazzling mix of business and pleasure. Add in parts of significant tension, that can be found as the identity of Tess is frequently nearly revealed, Working Girl is a pleasing winner. Only that it is a tad overlong is an extremely minor blemish on a delightfully mounted and performed comedy that nary puts a foot wrong. Lashings of 80’s glamour cover Working Girl and while it’s easy to scoff at some of the outfits, they actually make a good representation of how clothing makes the person which is something Tess knows all about once her Pygmalion style transformation starts. And no discussion of the film would be worth reading without mentioning the music. Largely based around the rousing Carly Simon song ‘Let the River Run’, the music sweeps you up and brings the feel good to the film in large quantities.

Melanie Griffith is inspired casting for Tess; her airy voice and expressive eyes used perfectly to imbue the part with a strength and occasional vulnerability. Griffith triumphs at making Tess a go-getter who isn’t going to just fall by the wayside and takes events, with a little subterfuge, into her hands and puts her business acumen to good use. You root for the character in her search for something worthwhile and you feel her plucky personality emerge through Griffith’s subtle yet endearing interpretation of the part. And seriously, everyone has to agree that Melanie Griffith looks adorable in this film, right? Harrison Ford contributes an affable and low-key performance as the often bewildered but honest executive, who unwittingly becomes the object of affection for both of the main ladies. Ford is a natural with light comedy and his facial expressions and awkwardness induce many laughs, plus his chemistry with both women is excellent. A tremendous supporting turn from Sigourney Weaver is also worthy of note. Playing the high-powered bitch, Weaver imbues the part with a sly charisma that sucks others in and belies her larcenous and greedy tendencies. Fabulous is the best word to describe Sigourney Weaver here, and even though she is wicked, she makes it looks so devilishly fun through her entertaining portrayal of a grinning shark in a corporate capacity with the shoulder pads to match. Joan Cusack provides countless laughs and wisecracks as the wildly dressed best friend, with nowhere near as much ambition as Tess but a supportive enough outlook for advice and salt of the Earth friendship. Alec Baldwin is here as the ne’er-do-well boyfriend who may be a hunk initially in the eyes of Tess( I mean, does this guy actually own a shirt?) but is a philanderer to put it lightly. In small appearances early in their careers, Oliver Platt and Kevin Spacey catch the eye as a pair of downright sleazy guys.

Sparkling, romantic and amusing, the executive suite comedy of Working Girl makes it a ticket to success and enjoyment from the fantastic Mike Nichols and his cast.

Who’s Afraid of Virginia Woolf?

Tags

1960's, Drama, Elizabeth Taylor, George Segal, Mike Nichols, Psychological Drama, Richard Burton, Sandy Dennis, Who's Afraid of Virginia Woolf?

Film Title

Who’s Afraid of Virginia Woolf?

Director

Mike Nichols

Cast

• Elizabeth Taylor as Martha
• Richard Burton as George
• George Segal as Nick
• Sandy Dennis as Honey

One of the most emotionally fraught, honest and unremittingly uncomfortable looks at marital dysfunction ever to appear on the screen, Who’s Afraid of Virginia Woolf? still has the power to pack a punch with its acerbic dialogue and committed performances. If you’re looking for a successful translation of a famous play to the screen, then look no further than this drama.

Martha and George, a college history professor and his wife return home in the early hours of the morning. There marriage is by turns loving and savagely cruel. Martha, who drinks too much and roars like a harpy constantly berates George about everything, while George is equally adept at playing these childlike games with her. Martha announces that she has invited a biology teacher and his wife over for a nightcap. It is here that all the venom within each of them begins to surface. When Nick, the handsome teacher and his meek wife Honey arrive at the house, Martha and George immediately launch into one of their many games, that eerily mirrors their troubled marriage. Soon, the young and seemingly innocent couple are drawn into this verbal war zone, and as the drinks continue to pour and as the early hours wear on, the vicious words and psychological abuse take full effect on all of them. Secrets are unearthed and grievances aired as the young couple watch the effects of a damaging marriage, while showing that there’s isn’t exactly on solid ground either. As an audience, you will be paralysed with shock at the violent effects of words and the volatile relationship of the central couple. But, don’t let the grim premise put you off, because if you do you will miss the talented Mike Nichols crafting a startling and full-blooded vision of marital confusion that will never be forgotten once it has been.

The use of black and white in the film exceptionally conveys the stark situations that the characters are stuck in. The editing style, mainly close-up’s and cuts to long shots help back up the verbal volleys that the feuding couple inflict on each other throughout the film. Above all, it is the acting the lingers longest in the memory. Elizabeth Taylor sheds her glamorous image to deliver an electrifying Oscar-winning performance as the monstrous and abusive Martha. But instead of creating an evil caricature, she imbues the character with a strange sort of sympathy and sadness that makes us realise the internal anger and pain that lie inside of her. Equally matching her is Richard Burton’s portrayal of the weary George, who although he tolerates Martha’s abuse, the audience comes to see that he is the one who has the upper hand as the games get evermore personal. Sterling support is added by George Segal and especially Oscar winner Sandy Dennis, who gives a performance full of neurotic tics that reveal her uncomfortable feelings with the situation unfolding before her eyes. The script is one of the most scathing , honest and corrosive things I think I’ve ever heard, the cast delivers the lacerating words with conviction, emotion and above all, power. One needs to remember how controversial the film was upon release, mainly because of the language used. And even though the years may have lessened some of the impact, the bruising words still have a raw and intense power that is hard to escape.

Mike Nichols delivered an auspicious debut with this film that surely ranks as one of his best, along with The Graduate. If you can handle the arguing and emotional impact of Who’s Afraid of Virginia Woolf?, then I advise you to see it as it is uncomfortable and unflinching in its view of a broken marriage, but rewarding because of the excellent performances captured.

Silkwood

Tags

1980's, Based on a true story, Cher, Karen Silkwood, Kurt Russell, Meryl Streep, Mike Nichols, Silkwood

Film Title

Silkwood

Director

Mike Nichols

Cast

• Meryl Streep as Karen Silkwood
• Kurt Russell as Drew Stephens
• Cher as Dolly Pelliker
• Craig T.Nelson as Winston
• Diana Scarwid as Angela

Based on the story of Karen Silkwood, a worker at a nuclear power plant in Oklahoma who died mysteriously whilst on her way to meet with a journalist, she was presumed to have had evidence regarding violations in the workplace. Directed by Mike Nichols, Silkwood emerges as a taut and effective, character driven drama full of fine performances.

Karen Silkwood works at Kerr-McGee power plant in Oklahoma with her boyfriend Drew Stephens and lesbian roommate Dolly Pelliker. Karen is a tough, mini-skirted, gum chewing worker who has a turbulent personal life. One day in the midst of her mundane shift, Karen is contaminated  and is hosed down in a harrowing shower scene. Aware that she will suffer a slow and painful death, she investigates the plant for further evidence of negligence and calls for union. Through her work and determination, her relationships with others become strained as she strives for the truth and justice.

As well as being somewhat of a biopic, the film is also an interesting character study of one normal women thrown into an extraordinary situation. In the title role, Meryl Streep embodies the determination, strength and defiance of this woman.As the story for her struggle for truth is told, the audience sympathises with her as a result of her refusal to back down. She is offered strong support from Kurt Russell and a low-key performance from singer turned actress Cher. Both of them surprised me with their effectiveness towards their characters. Cher especially caught my attention in the role that got her noticed as an actress; as Dolly she is the wise-cracking best friend but a melancholy pervades her quietly expressive portrayal. She is barely recognizable when clad in dowdy clothing and hardly any make-up really looking the part, but her subtle emotionally earnest performance adds to this.

The main themes are the struggle for justice and business corruption, but I also thought that fear was a theme expressed throughout a lot of Silkwood. The title character fears for her life because of her dangerous work and fears that no one will listen ,Drew fears losing Karen to both the contamination and her constant union work and the lonely Dolly fears losing her friends who she considers to be her own family. There is also a reference in the contamination sensor as each worker walks through it dreading the screaming of an alarm to confirm they’ve been what the others referer to as ‘cooked’.

Although the film unravels at a slow and thoughtful pace, it is still compulsive viewing as we watch Karen’s crusade becoming more vocal and her voice being heard by authority. Only in the last hour does the film slightly lull in places, but overall the slow unravelling works to show us the extent of what is happening. Even if the story doesn’t interest or grip you or the pace seems to last forever, the fine performances from the cast, especially Streep, Russell and Cher will keep you watching until the end. A moving and engaging film, made more moving due to the basis of the source material.