Thursday, July 9, 2015

the Directors: Kathryn Bigelow

Roger Ebert said it best, Kathryn Bigelow is a master of stories about men and women who choose to be in physical danger. Choose is the operative word. The characters in Bigelow’s films always seek out trouble. Sometimes it’s their job to do so; cops, soldiers and secret agents are paid to place themselves in dangerous situations. Other times, Bigelow’s characters start trouble just for the hell of it. The through line of these characters is that they all become obsessed with danger. The thrill of the chase, the determination of discovery.

Of course, Kathryn Bigelow is the only female who has won a Best Director Oscar, but that’s not what makes her work so iconic. In her three decades plus career, she’s made films in all different genres. Her movies are all different, but, in some ways, all the same. That’s what makes a great director, a great director.

The Loveless (1981)
The Loveless is a biker gang throwback flick that oozes atmosphere and tone. The film, which Bigelow co-wrote and co-directed with Monty Montgomery (who played “The Cowboy” in Mulholland Dr.), is about a moody motorcycle gang who stop in a conservative southern town while in route to Daytona, Florida. Tensions are drawn between the gang and the town locals, all while the “hero” of the film, a baddie biker named Vance (Willem Dafoe, in his first credited screen role), falls for a small town girl.

The film is a strong debut for Bigelow, Dafoe, and cinematographer Doyle Smith. Many of Smith’s compositions singlehandedly make the film worth watching. Though, it must be said, the slow pacing of the movie will turn many off. At only 82 minutes, The Loveless should move faster than it does, but its deliberate style is indicative of Bigelow’s early confidence. A trait she has yet to part with. B

Near Dark (1987)
The logline for Near Dark is dangerously familiar: An innocent young man is bitten by a vampire and during his subsequent transformation, is taken under the wing of a group of vampires, who teach him to prey on humans. But thankfully, there’s plenty to help distinguish Bigelow’s film from others of its kind.

Near Dark is a fusion of the western and vampire genres, with a handful of hilarious and psychopathic characters to help add humor to the mix. A notable aspect of the film is that not every vampire in the gang is on board with having new vamp Caleb (Adrian Pasdar) around. Namely Severen (Bill Paxton, really going for it), who’s philosophy is to kill everything and everyone that isn’t a vampire, and have a damn fun time doing it. The best scene in Near Dark is when the vampires descend on a shitty dive bar and harass some locals, just because they can. There’s a macabre humor that permeates throughout the film, and that mixed with visual flare and plentiful gore make Near Dark the type of movie destined for cult status. B+

Blue Steel (1989)
Blue Steel was Jamie Lee Curtis’ star vehicle, and there isn’t a false note to be found in her performance. Her Megan Turner is a fierce rookie cop determined to track down a killer who, unbeknownst to her, she has begun a casual romantic relationship with. Other movies of this kind often leave the Big Reveal of the killer for the very end, but Blue Steel does something interesting by taking the suspense away. We know early on that Eugene (Ron Silver) is the bad guy. So as Megan and Eugene get closer, we sit in anguish as Megan slowly makes herself more vulnerable to him.

Blue Steel is a strong film about a strong woman who’s fighting the system, misogyny be damned. In a bold move, nearly every other major performance in the movie is played by a man (the women, other than Megan, are purposefully portrayed as victims). Bigelow knows the world we’re often presented in cop films, and with Blue Steel, she flips that perception in such a refreshing way. B

Point Break (1991)
Point Break is one of my favorite films of all time. I can quote it verbatim and predict every action. I love it. Absolutely love it. For those poor souls who don’t know what it’s about: rookie FBI agent Johnny Utah (Keanu Reeves) is tasked with investigating a group of bank robbers who dress up as ex-presidents when they pull off jobs. Based on a hunch from his partner (Gary Busey), who thinks the robbers are surfers, Utah takes up surfing and falls in with a righteous free spirit named Bodhi (Patrick Swayze), who may or may not be one of the thieves.

So look, here’s the thing. As far as the annals of cinema history are concerned, no, Point Break is not a masterful cinematic achievement. But there’s something to be said for a film that so ruthlessly strives to entertain, and does. Simply put, this movie is a goddamn good time. The dialogue is priceless, the action scenes are legitimately thrilling (notice the lack of visual effects), and the performances are the epitome of each actors’ respective on-screen persona. There’s nothing I don’t love about this film. I can put it on anytime, anywhere, and completely enjoy myself. And hell, sometimes, what more can you ask for? A

Strange Days (1995)
On the eve of the year 2000, Los Angeles is a battleground for those frightened by the new millennium. Riots rage, cops are criminals, and men like our hero, Lenny (Ralph Fiennes), do whatever they can to get by. Lenny deals exclusively in SQUIDs, recordings taken from a person’s brain and put on a minidisc. SQUIDs come in all forms – sexual encounters, chases, shootouts – and when the user watches them, they experience the physical sensation of the person who recorded it. So when Lenny comes across a SQUID of a woman being raped and murdered, he’s thrown into a web of mystery and corruption that he may not escape from.

Unlike many films that take place in the near future, Strange Days still holds up today. In fact, when I rewatched it a few months ago, I liked it more than ever. For Fiennes, Lenny was an opportunity for the actor to step out of the villainous shadow of his Schindler’s List character. And for Angela Bassett, who plays Lenny’s friend, Mace, Strange Days gave her a chance to portray a fearless badass, which she plays so well. The supporting players are a who’s-who of character actors from the ‘90s. Juliette Lewis, Tom Sizemore, Vincent D’Onofrio, Michael Wincott, William Fichtner – they’re all great here, fully buying into the world Bigelow created. B

The Weight of Water (2000)
The Weight of Water crosscuts two stories: the events surrounding a double murder in 1873, and two couples on a boat in the present, researching the murder. The problem is that the past story carries little weight compared to the present one, which itself isn’t very compelling.

Thomas (Sean Penn) is an anguished poet whose wife, Jean (Catherine McCormack), is obsessed with the old murder case. But that all comes secondary to the complicated love dynamic on the boat, who Thomas and Jean are sharing with Thomas’ brother, Rich (Josh Lucas), and his girlfriend, Adaline (Elizabeth Hurley). Thomas flirts with Adaline and Jean flirts with Rich, but the movie is too slow and timid to do anything interesting with the conflict. The Weight of Water is Kathryn Bigelow’s weakest effort; the only Kathryn Bigelow film that doesn’t feel like A Kathryn Bigelow Film. D

K-19: The Widowmaker (2002)
K-19 is middle-brow action; there are a handful of sequences and performances worth mentioning, but ultimately, it’s lost among the shuffle of similar films. Aboard the K-19 nuclear submarine are two rival commanding officers, Polenin (Liam Neeson), who the men already confide in, and Vostrikov (Harrison Ford), who is new to the ship and thereby untrusted. The film is as much about the battle between these two men as it is about the Cold War that rages on outside the sub. And, to be fair, Bigelow deserves credit for producing an American film that concerns itself solely with the Soviet side of the Cold War. But K-19 is too flat to merit engaging discussion. If you’ve seen it once, that is surely enough. C-

The Hurt Locker (2008)
We arrive at the turning point, the game changer, the Hail Mary that still divides audiences. The Hurt Locker was a sensation; a rare war film with no mention of politics, and no discernable plot. The characters in The Hurt Locker aren’t presented with a single conflict that they try to resolve for two hours of screen time. Their entire lives are a constant conflict. Sergeant First Class William James (Jeremy Renner) leads a team of men who are tasked with deactivating explosive devices in combat. James is a renegade road warrior, with a complete disregard of protocol and his general well-being. His methods are dangerous. And that’s what struck me so profoundly the first time I saw this film: there is danger lurking in virtually every scene. Whether the men are disarming a bomb or wrestling in their barracks, the threat of danger is always present.

Beyond the thrilling action set pieces, splendid performances (the trio of scene-stealing cameos from Guy Pearce, David Morse, and Ralph Fiennes are a pleasure), and overall expert direction (which won Bigelow an Oscar), The Hurt Locker is fearless at conveying the idea that war is a drug. Indeed, the film opens with a quotation stating that very message, but it ends with imagery that is far more powerful. Walking back to the battle, back to the unknown, back to the danger. Why? Anyone who hasn’t been isn’t qualified to answer. A

Zero Dark Thirty (2012)
One of the most controversial movies of the past decade, let alone of Bigelow’s career, is the bin Laden manhunt thriller, Zero Dark Thirty. In the weeks directly before and after the film’s release, the conversation surrounding Zero Dark Thirty was stuck on the film’s brutal and realistic depiction of torture. The conversation quickly became political – did the U.S. actually torture detainees? – which is the antithesis of what the movie is trying to convey. Bigelow had to do the now-standard press circuit of explanations and apologies, carefully articulating her personal belief in pacifism, while conveying that cinematic depiction is not endorsement.

It’s a shame that politics clouded the release of the film, because Zero Dark Thirty is an expertly crafted slow-brew procedural thriller. Jessica Chastain has arguably never been better (I couldn’t disagree more with those who say her character isn’t layered), and the supporting cast is universally excellent. And the final siege on bin Laden’s complex (which wisely takes place in real time) is one of the best executed film sequences I have seen in the past several years.

Many still disagree over the worth of Zero Dark Thirty (I’m sure I’ll catch some crap for referring to the film as “masterful”), and that’s fair. I’m glad in the years since its release, the film has been allowed to stand on its own, away from the talking heads who needlessly turned it into a political centerpiece. Zero Dark Thirty gets better and smarter every time I watch it. It’s as if I’m learning the facts of the case right there with Chastain’s Maya. Pealing back the layers, desperately trying to find what’s hidden underneath. A

In Summation
Masterful
The Hurt Locker
Zero Dark Thirty

Great
Near Dark
Point Break

Good
The Loveless
Blue Steel
Strange Days

Eh
The Weight of Water
K-19: The Widowmaker

Just Plain Bad
None

29 comments:

  1. I think you and I are on the same page though based on my list, we have different rankings for her films though I do agree that The Weight of Water is her weakest work.

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    1. Our rankings would be slightly different, but it still seems like we more or less agree on each film. Near Dark is such a fun little flick.

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  2. Pretty on point here sir. Though I have to admit that I still haven't seen The Hurt Locker or Near Dark yet but these definitely make me want to. I agree that The Weight of Water and K-19 are definitely weaker films in comparison to her others. The former nearly put me to sleep I was so bored watching that one.

    I've only seen Zero Dark Thirty once, back when it was first released, and found it significantly weaker than most people had said. I wasn't bothered by anything in the film (as realistic as the torture is) and I thought Chastain was really, really good in it (her portrayal of Maya is full of beautiful little details based on my recollection of her) - but I found the film's pacing to be a bit too sluggish for my own taste, as weird as that sounds. Perhaps it's my lack of interest in the genre (war films) but considering that there was very little time spent on the battlefield, in comparison to many other films of the same genre, I don't know if I could chock it up to simply not being a fan of the genre in this case. Regardless, it's definitely a film I feel I should give a rewatch.

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    1. I think everything you're saying about ZD30 is totally fair. It's a very slow-brew thriller that was inaccurately marketed as "THE NEXT HURT LOCKER!!!!", which is lame. Though I will say with subsequent viewings (and watching it with the subtitles on), the movie grows and grows on me. It's a very smart film. Things said in passing in minute 20 are referenced 90 minutes later as a significant plot point. And I think the performances are universally excellent. The way Gandolfini walks into the CIA briefing room for the first time is incredible. Such reverence right away.

      It isn't my favorite Bigelow film (that will always be Point Break), but I do think it is the best film Bigelow has ever made. Which is a somewhat new opinion for me.

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  3. Never seen Point Break *hides*, in truth Strange Days is the only movie of hers I like - but on the plus side I really really like it.

    It's not that Maya was not layered, is that for me she was so boring. I legitimately didn't care what will happen to this woman as I was watching the movie.

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    1. You GOTTA check out Point Break! It's so ridiculous, so '90s, so fun - and it cruises by. Movie is paced excellently.

      Yeah, if you don't care about a main character, it's hard to get on board with a film as a whole. Totally get that.

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  4. Excellent post. I love Kathryn Bigelow's work for the most part but I'd have to say The Hurt Locker is her best, followed by Zero Dark Thirty. Those two are amazingly crafted. K-19 is alright, but I'll agree it's not her greatest accomplishment.

    I've actually been wanting to see Blue Steel for a while now. It sounds like it could be an interesting film. the only thing that's stopped me is that for whatever reason I can't seem to find it ANYWHERE. By now I must have combed like a hundred video stores (I can't order stuff online right now, since I don't have a credit card) and can't even find a used copy. It also (frustratingly) won't show up on Netflix or HBO on Demand so I can't watch it through those channels. I can't even resort to downloading now that Piratebay's been taken down. My insatiable desire to see this film has been driving me mad.

    I'm not the biggest fan of Point Break. In a weird twist for me I actually found the romantic parts of the film a lot more interesting than the action. I really felt like that one would have worked a lot better if they'd instead made the film as a romance centred around the relationship between Johnny Utah and Tyler with Bodhi as more of a side character. Still, I could definitely see some of Bigelow's style and some of her ideas that she would later explore (Bodhi does have some resemblance to the much more interesting Sgt. First Class William James in The Hurt Locker).

    Strange Days was weird. I'm still not sure I understood what was happening in that one, though it did have a curious interpretation of the future. I'll agree that Angela Basset was pretty good and there were plenty of twists and turns (I don't think I was prepared for the reveal about Tom Sizemore). That opening scene as well was pretty disorienting, when you get to see a botched robbery literally through the eyes of one of the criminals even as he falls to his death.

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    1. UPDATE! I finally managed to obtain Blue Steel from a library:

      http://hitchcocksworld.blogspot.ca/2015/07/rookie-blue.html

      Based on what I've seen of Kathryn Bigelow's films so far, if I were to rank her films from best to worst I think it would go something like this:

      1. The Hurt Locker
      2. Zero Dark Thirty
      3. Blue Steel
      4. Strange Days
      5. K-19: The Widowmaker
      6. Point Break

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    2. Glad you found Blue Steel! I agree, that one is needlessly difficult to track down. Glad you liked it as well, really solid film.

      Your thoughts on PB are interesting. I think the romance is one of the weakest parts of the film (though I still love it, of course). Strange Days gets a little every time I watch it. But definitely a weird flick.

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  5. I've seen all except her first film (never even heard of it) and The Weight of Water. I like to one extent or another all of her films I've seen.

    The only one of your ratings I'd disagree with is K-19. It's not a great film, but I feel it's a good one that is worth seeing.

    My favorite Bigelow film is probably Strange Days, although The Hurt Locker and Near Dark are right up there. I agree with the commenters who said Zero Dark Thirty was kind of slow and boring in places. I still liked it well enough to recommend it, but it would be near the bottom of her films for me.

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    1. The Loveless is a weird little flick worth seeking out. The Weight of Water (which is currently on Netflix Instant) is really only for completists of her work. But overall, it's nice to hear that you're a fan of her work.

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  6. The Hurt Locker and Zero Dark Thirty are both, in my opinion, as perfect as films can get. Those two alone are enough for me to say that Bigelow is one of the greatest directors working in film. I haven't seen any of her other films, but I did see the trailer for the remake of Point Break… not even Edgar Ramirez could make me excited for that.

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    1. Both are so good. I highly recommend seeking out Point Break. It's so much fun. SO. Much. Fun. The remake looks horrendous. Yuck.

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  7. I know I may be in the minority, but I freaking love 'Point Break.' I was a young girl when that movie came out and I was going marry Keanu Reeves after I saw that movie. Needless to say it didn't work out that way. Kathryn is a masterful director and highly underrated over the years. I'm very happy that she is finally getting her due. I remember when Point Break came out, she was the first female director I had ever heard of.

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    1. You're not in the minority on this site! I love that film, and yes, I too think it's very underrated. Even from a technical standpoint, the movie is so skillful. The Utah/Bodhi foot chase would be so hard to pull off shooting on film. Those cameras are HUGE, so the mobility of that scene is astounding.

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  8. As good as The Hurt Locker and Zero Dark Thirty are, Point Break will always be my favorite movie from her. It's one of my all time favorite cheesy action movies. It's absolutely fantastic. The characters, one liners and just general style of the movie is all so perfect. It's a shame that remake looks like a big steaming pile of shit though. That's one movie i definitely won't be watching. I don't need it to ruin my good memories of Point Break in any way.

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    1. Fully, 100% agree with everything you said here. Love love love that movie!

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  9. I've only seen 4 of Bigelow's films. Need to see the rest. I'd rank them as follows:

    1. The Hurt Locker
    2. Zero Dark Thirty
    3. Strange Days
    4. Point Break

    Point Break certainly isn't bad, though. It's a very fun movie, possibly one of the most fun. I just prefer Strange Days as a better overall film. I find that to be vastly underrated.

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    1. Strange Days is definitely underrated. Love that you're a fan of the work of Bigelow's that you've seen.

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  10. As of now, I've only seen Zero Dark Thirty and I thought that was masterfully done and I agree with you about how Chastain is incredibly layered. Plenty cried afoul about Ben Affleck getting snubbed for Best Director, but I think Bigelow getting snubbed was a much bigger crime. I would even say ZDT is a better film than Argo.

    Also, I nominated you for the Liebster Award, which allows bloggers to discover other amazing blogs. Check it out:

    http://filmguyreviews.blogspot.com/2015/07/liebster-award.html

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    1. Thanks for the Liebster! That's really kind of you. Argo is a hard movie to hate on. It's funny, fun, very well acted, briskly paced - it's a perfectly decent film. But how it carried momentum to go on and win Best Picture is something I'll never understand. Again, I'd give it a solid B/B+, but it'll never feel like a Best Picture movie. So, basically, I absolutely think ZD30 is better than Argo, no question.

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    2. Yeah. Argo's definitely not a terrible movie, but compared to ZDT, it felt like an easy way out in terms of its BP win because it's a more entertaining thriller that shows Hollywood as the hero and won partially out of sympathy for Ben Affleck's BD snub. But ZDT was more socially and emotionally challenging. I like to think of it as the thinking man's Argo.

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    3. Totally agree. The BP win felt like saving face for the Director snub. Still, I would've given BP to Django Unchained or Amour that year, of the nominated films. (Rust and Bone will always be my favorite from 2012.)

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    4. Love Rust and Bone! My pick for Best Film that year would still be The Master, but I love Rust and Bone the same. Also, you're very welcome about the Liebster!

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    5. The Master gets better and better every time I watch it.

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  11. The Hurt Locker and Zero Dark Thirty are SO good! It's great that Bigelow's work has improved over the years, though I haven't seen most of these. I watched Strange Days a few weeks ago, and it's a bit of a mixed bag (B-) for me. I'm definitely going to check out Point Break soon, though. I should've already seen it by now. ;)

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    1. Just remember to have FUN with Point Break, which I know you will! It is so so so much fun. The Hurt Locker and Zero Dark Thirty both get better every time I watch them.

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  12. I love what you say in your intro about her movies being different, in some ways though all the same. This is indeed a trademark for a really great director and for me Bigelow has proved herself to be that and then some. She has her own specific and truly strong vision and no matter the story that's unfolding on screen, you always feel that it's in the confident hands of a really passionate and wildly talented filmmaker. I was thoroughly impressed by Point Break when I first saw it and I didn't expect the disappointment that The Weight of Water was, which was the second film I'd seen of hers at this point. I'm glad she went to do really great stuff and man Zero Dark Thirty is undoubtedly filmmaking at its best. Great post Alex, keep it up man.

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    1. Thanks buddy! I really appreciate this. I agree, you can see her passion in all of her work, even the lesser films. ZD30 constantly empresses me. I adore the tone and pacing of that film.

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