KEA Productions: DVD Movie Reviews

from the archives of NuReel.com, The Berkeley Daily Planet, and Alameda Sun- written by Kamala Appel
ratings: Plus (highest)-Neutral (okay)-Negatives (pass & omitted from archive)
I: I Am Sam, In the Bedroom, Iris, Italian for Beginners

I AM SAM (Plus)

Acting just does not get any better than this!  An  all-star cast proves they are worthy of their box office and  critical success.  The cast includes: Sean Penn as Sam  Dawson, a mentally-challenged single father; Michelle  Pfeiffer as his driven, high priced attorney; Dianne Wiest as as Sam's well-educated and agoraphobic neighbor; Richard   Schiff as one of Sam's mentally-ill friends; Laura Dern as  the foster parent who pursues adoption of Sam's daughter;   Loretta Devine as the concerned social worker who challenges  Sam's ability to raise his daughter; and a cameo by Mary Steenburgen.  Pfeiffer and Penn create a dynamic energy when  they are on-screen together that reinforces all the elements  that their characters possess in common, as well as how they contrast.  Even though I think Penn captures the mannerisms  and voice fluctuations of someone who is mentally retarded,   he does not manage to make his eyes look any different than they do when he plays a bad boy, surfer dude, or regular  guy.  I realize that this is not an easy task since very few  actors manage to capture the innocence of their characters,   however some have such as Robin Williams in JACK, Tom Hanks  in BIG, and Robert DeNiro in AWAKENINGS.  I do think that  Penn will be on the minds of the Acamedy when the make a  list of nominees for best actor for 2001.

Despite the stellar performances by the veterans,  newcomer Dakota Fanning who plays Lucy, Sam's daughter, steals the show.  Her performance exudes confidence,  compassion, and intelligence that seems beyond her years. Apparently Fanning brings a degree of real life experience  from relationships with her real life relatives, but even so, her acting ability makes her stand out as one of  Hollywood's hottest up-and-coming child actors.  Jessie Nelson who brought out the best from another young girl on          screen in CORRINA, CORRINA, proves that she knows how to get strong performances from actors of all ages, especially children.  (What every happened to the girl in CORRINA, CORRINA? I hope Fanning does not disappear...)

In addition to the fine acting, the cinematographer and  editor also create a style that furthers the character development.  The camera placement (angles and proximity to  the characters) varies along with the duration of the shots,  to contrast the characters in terms of their state of mind at the given moment.  For example the angles become tilted as the chaos and confusion increases and the pace speeds up  as the characters become more distraught.

In short, all the elements add up to create a very  powerful, insightful, and moving work.  I AM SAM will make  audiences think and discuss their thoughts about parenthood and mental capacity. Personally, I think that a film that  can stick with you after you leave the theater, is a sign of  a good piece of filmmaking.  Beatles fans will love the  soundtrack. I AM SAM will have a limited release in the key  cities of New York and Los Angeles on December 28th in time  for Oscar consideration, and I suspect that more than one of  the cast members will make it on the list of nominees.  This  film would be equally enjoyable on video.

IN THE BEDROOM (PLUS)

IN THE BEDROOM features a strong cast: Sissy Spacek, Marisa Tomei, Tom Wilkinson, Nick Stahl, and William Mapotherall, of whom give subtly powerful performances. Although the title suggests a greater degree of sexual content, this film looks at family and what we as people (rich or poor, educated or illiterate) would do to keep what we deem ours, whether it be because of love or control. (The title actually refers to a fishing term used to describe a lobster trap). IN THE BEDROOM will maintain your attention but the real punch comes from the lingering effect the film has after you leave the theater. You may reassess the role class and culture plays in civilized behavior, after viewing IN THE BEDROOM. This film is far from light entertainment; it contains a two scenes with graphic violence and the majority of the film revolves around the impact these violent acts have on the loved ones of those violated. It is difficult to say much more without saying too much. You will feel ambivalent about all of the characters. You will probably want to discuss your feelings with others who have seen the film- that is what makes this film powerful, but it will not hit you until after you leave the theater.

IN THE BEDROOM will have a platform release starting starting December 2001, just in the nick of time for Oscar and Golden Globe consideration.

IRIS (PLUS)

IRIS is based on John Bayley's memoirs (Iris: A Memoir and Elegy For Iris) about novelist Iris Murdoch's demise into a state of being without memory. The film cross cuts back and forth across time from the courting years when a younger Bayley (Hugh Bonneville) sought the hand of the precocious young Iris Murdoch (Kate Winslet); to their golden years when the aged Bayley (Jim Broadbent) cares for the increasingly senile Iris (Judi Dench).

The casting could not be more perfect. The performances as well as the hair and make up make it believable that Judi Dench is in fact an older Kate Winslet, and impossible to distinguish middle-aged Bayley (Hugh Bonneville) from senior (Jim Broadbent). All four actors give powerful, convincing performances that honor their craft; however, Judi Dench captures the downfall of a great mind to such perfection, she blew my mind away. Her performance is indisputably Oscar-worthy.

IRIS will hit you hard both emotionally and intellectually, especially if you have endured the mental loss of a loved one to senior dementia. If you want to see some superb acting, then set a side time to see IRIS. This film opens in a platform release pattern starting February 15, 2002. This film would be equally enjoyble on video, but is worth seeing before Oscar time.


ITALIAN FOR BEGINNERS (NEUTRAL/PLUS)

With a somber air reminiscent of Scandinavian auteur Ingmar Bergman and the romantic idealism of Italian greats like Giuseppe Tornatore , ITALIAN FOR BEGINNERS combines the best of both national cinemas (Denmark not Sweeden). The fact that this film is somewhat complacent and predictable does not matter since the characters are so genuine, the audience will care about how their lives unfold.

ITALIAN FOR BEGINNERS presents the lives of a few different thirty-somethings in a small town in Denmark who come together at a weekly Italian course offered at the local community center. The ordinary characters may appeal to mainstream audiences, but the Dogma doctrine of filmmaking may not. The film lacks a central character or an omniscient point of view that many western audiences have come to expect; however, this style is very typical of Third Cinema in Africa, Australia, and Latin America. The bouncing camera work will remind audiences of television ground breakers like NYPD and HOMICIDE. The dark, gritty look gives the film a documentary/ cinema verite feel. The dogme style stands in stark contrast to Hollywood Classical Cinema since this tradition of filmmaking strips away all the artificial elements that is so characteristic of more mainstream films. The average looking actors and casual acting style also heighten the authenticity and voyeuristic experience.

ITALIAN FOR BEGINNERS works not for high entertainment value, but rather for the interesting study of the human condition and presentation of personality types. Director Lone Scherfig explains: "I think that life is about comedy and melancholy. These characters are all insecure, which creates very authentic comic moments and also makes the characters a little forlon." (Press notes c. 2002 Miramax Films) Even though the film depicts realistic plights, conflicts, and dysfunctions, ITALIAN FOR BEGINNERS manages to maintain an optimistic, dare I say, romantic tone. ITALIAN FOR BEGINNERS opens in a platform release pattern starting February 1, 2002. This film would be equally enjoyable on video.

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