True Grit (2010)

Directed by Joel and Ethan Coen

Run time: 1hr 50min.

"The wicked flee when none pursueth." Proverbs 28:1

In the battle of The Duke versus The Dude...as much as it may be sacrilege to even whisper...this envisioning of True Grit dominates even the memorable John Wayne's Oscar-winning turn by a longshot. The Coen Brothers simply cannot make a sub-standard film. They are THE directors of our time, and though True Grit had a path already paved for it, their work here draws just as much from the 1968 Charles Portis novel to give it its own identity rather than re-hash what was accomplished cinematically in 1969.

There is a sense of apologetics to it; making it known that many faithful followers of The Duke will be put off by the intrusion on a classic, yet simultaneously it forges ahead in its own fashion. Oddly enough, this is probably their least intrusive film I have seen other than Intolerable Cruelty or O Brother, as far as pervading a viewer's psyche and making an audience uncomfortable. It certainly has its squirm-worthy moments, but it is utterly accessible and it has several chuckles along the way. It is reminiscent of Clooney's protagonist Ulysses and John Wayne's take on Rooster Cogburn's awkward interactions with the little girl he reluctantly allows to accompany him on his mission of vengeance. I say this knowing that it is ultimately unfair to compare the Duke and the Dude...and also equally unavoidable. Might as well embrace it. On to the film at hand.

We open with our introduction through voiceover to a grown Mattie Ross after the turn of the century. She recalls the events that transpired concerning her father's brutal murder, by the cravenly Tom Chaney (Josh Brolin). She was only 14 then, and soon we meet her at this age, played adeptly by Hailee Steinfeld. We encounter her tending to the final arrangements of her father's burial; but she looks to enlist the aide of a lawman who will help her exact justice for the wrong done to her and her family. The only reasonable choice of course is Jeff Bridges' incarnation of the cantankerous Marshall, Rooster Cogburn.

She is the film's moral center in a world where the good guys are good and the bad are bad; and then there are good guys who are bad at being good and good at being bad. In a place and time when America was still carving out its identity, much of American society's makeup was created in this harsh, but manner-driven old west, and the Coens lovingly embrace this conundrum. As the original is often regarded as a character study, one could also argue this breaches the same material across the hull-and makes each character toe their respective lines, none more so than Mattie. She has moxie, but a sense of justice. She is naive to believe the rest of the world is bound by her own code that she is ingrained with, but intelligent and experienced enough to endure the brutality and stern journey that awaits her.

In an early scene where Mattie first meets Texas Ranger LaBoeuf, (played by Matt Damon being, well, brilliant again---he's hit a home run in every role since The Bournes) his quirky sense of grandeur for his trade and title leave him floundering when vexed with this sassy, smart 14 year old. It's a nice balance, and again, helps set the tone for the players. Her time spent in town interacting with a wide variety of folks, including Marshall Rooster Cogburn made me smile. She hires Cogburn, being told that he is a man of "true grit"---so that he can capture Tom Chaney and hang him for his crime. LaBoeuf has made a career out of chasing Chaney; he wants him for murdering a Senator in Texas. Mattie will not stand for this and aims to see the job done right by accompanying Rooster on the hunt. Of course both men recognize the danger in this and unbeknownst to her they set out into Indian Territory where Chaney has fled. She tracks them down and in the river crossing scene--I couldn't help but think that Rooster's mentality was---"if she makes it across alive...fine. If not, it's going to ruin my best suit getting wet to save her." A recalcitrant trial by fire of sorts. It is fun to witness him hedge about it.

This is where...and I'm prepping you for it, lest you need to cover your ears (or in this case, eyes) that Bridges far surpasses John Wayne's take on Cogburn. It is in his quiet moments, when no lines are uttered...that Bridges masterfully espouses the weary, hardened, yet likable soul of old Cogburn. Each facial expression tells a story, longer than the one you are in the theatre to witness. His gaze pierces you. Let it. That's what it is there for.

You hear some high-pitched gurgling that you may give pause to and recall the bumbling Dude of Life from The Big Lebowski; (he even uses the word "abide" as the Dude does-subtle-but I think certainly intentional) and be on the lookout for a nod to The Duke--Bridges' gait as he stammers about from dismounting a horse or navigating the daylight in sobreity round the courthouse is a tribute to the old cowboy. And best of all, it does NOT detract from the storytelling, or his interpretation of the Marshall. You see it; you smile; you move on. Bravo, Jeff.

The most prevalent character to me, is the landscape. The Brother's treatment of arid life in the time of tumbleweeds and spurs becomes such a visceral presence that it drives the film; I am reminded again of O Brother, Where Art Thou and even somewhat of No Country For Old Men. With these three films Joel and Ethan are single(?)handedly reinvigorating Americana and the classic Western. I hold a large breath of trepidation and anticipation to see who else follows Western suit and with what material, for none can handle it as masterfully as these two have proven to do.

As the journey progresses, so do the risks, the dangers and the cold reality that have become as natural as the air that Cogburn breathes. Not so for his impressionable female companion. In slight disgust and wonderment does she witness some of the more viscous work that the Marshall's reputation has staked. She also becomes the self-appointed mediator between Cogburn and LaBouef who bicker like an old married couple, that ultimately still kind of like each other. The fear and debate is that the trail has gone cold, led them astray and Tom Chaney will have eluded them; seeking solace in the refuge of "Lucky" Ned Pepper's (Barry Pepper) Gang.

Talk about gritty. Barry Pepper is on-screen for about 5 minutes total and will make the hairs on your arm stand up. As the climax builds, we are steered away from the threat of Tom Chaney who briefly seems dangerous only in his ignorance, and laughable in his abundant ineptitude. It is Lucky Ned who presents a calculated danger. He has history with Cogburn, an ugly one and he won't be going quietly. But look out. Most dangerous is a foolish man who thinks he has nothing to lose. It is in the final act that we see at last, no longer the glimpse of Cogburn's grit and merit...but now the prevalent quality of determination to see justice done and safety granted to Mattie. This did cast my memory back to the 1969 version; Joel and Ethan's camerawork on the starry night horse ride is a last homage to what has transpired before. It is here in this scene, after all she has witnessed, endured, been subject to, that this resilient young woman is a girl once more--frail, vulnerable and crying sorrowful tears. This is her passage into womanhood; her loss of childlike innocence.

There is one glaring difference sadly, between the original film and this. Ironically, John Wayne won his only Oscar for his portrayal of Rooster Cogburn, though many contend he was far superior in several other roles, such as The Quiet Man...some even believe as this role neared the end of his life and career, he was given the Oscar almost as a lifetime achievement in cinema instead of for his take on the crotchity Marshall. And so, even though as good as Coen's version is, superior to the original; as pensive and clumsy and yes, "Gritty" as Bridges makes his Cogburn out to be, little of it (save the cinematography, possibly the adapted writing and direction) will probably be in Oscar contention. If the field for Best Picture stays widened to 10, it will get nominated. Matt Damon as Texas Ranger LeBouef may also get a nod, but will ultimately get overlooked; Brolin and Pepper aren't featured long enough; Steinfeld might garner some due attention; and if the Academy can forgive Bridges his temerity to reinvent an immortalized character...made immortal by a legend himself...then maybe, just maybe, he will be considered for a second year in a row.

I say all of that to say this. This is how I know that the Coens are the most exceptional directors I've seen. They had the opportunity to make a movie---to pay tribute to a classic---which they did. They made it endearingly, carefully, artfully...and deserve a lot of praise and recognition for it, but in the end probably won't get it because it will be forever measured against the orginal. And they went ahead and made it anyway. That, my fellow viewers, takes true grit.

How good is Inception?

I am skipping over some much needed blog time that was supposed to be dedicated to a wrap up of the awesome Disney trip we took to do a movie review.

Inception. Directed by Christopher Nolan

Let me start by saying it is not a perfect movie, neither in story nor in craftsmanship. With that out of the way, it is as close to both that I have seen in several years. It is a complete, comprehensive movie that can satisfy an array of tastes and one can affectionately disregard any mistakes or inconsistencies that may occur. What I mean to say is this: When you are dealing with the subject of dreams or of time travel, but keeping all else relatively "normal" or realistic, you tread dangerous ground. Yet Director Christopher Nolan (Memento, The Dark Knight) spent nearly a decade putting all the pieces, or layers, if you will, together to make one heck of summer movie. It has a little bit of everything. Intense action; drama, love, humor, and an engaging story.

Any movie that has people talking about it days after the initial viewing is something to take note of. And please understand; there's no gimmick here. People aren't talking it up because of a one-dimensional intrigue such as The Blair Witch Project, which is about as close to the Emperor's New Clothes as one could get. People are talking up the depth of detail, the intensity, the subject matter, the action, and several of the performances which all coalesce with just enough grit and grace to keep viewers wanting more, thinking more.The movie asks you initially to accept that you are now in a world where technology exists advanced enough that dreams can be hijacked and manipulated by those other than the dreamer. Dom Cobb (played with appropriate caution by a coolesque Leonardo DiCaprio) is an expert in this field, and is looking to steal subconscious secrets from top corporate heads. He's been contracted by their competitors to do so and we soon learn he is trying to find the right amount of money or the right client that holds the power and sway to overturn an unjust charge of matrimonial homicide that has him defected from America, away from his two children. His wife (the lovely Marion Cotillard) begins to appear in multiple dream sequences of his own, as well as the targets he's hijacking-becoming increasingly troublesome for the rest of Cobb's team.

As with dreams, there is more to the story than what we first see. Cobb believes there is a way to supplant an idea within someone's dreaming subconscious so deep that the dreamer believes it was their own idea. This notion proves to be very risky; if it's not deep enough, the subject realizes it's someone else's idea and their subconscious begins to attack the invading dreammakers. If it is planted too deep, the hijackers risk being lost in a permanent state of dreaming; called limbo. Therefore, they must enact dreams within dreams, which become very intricate—plan on asking yourself lots of questions throughout and afterward. Every new twist and turn has a new rule. It’s a weird, wild ride, surreal and astutely so. Give credit to all involved to making a dream come to life, as well as life come into a dream. Look for the "kick". A way to awaken people from dreams, by setting their sleeping bodies off balance, such as falling over out of a chair. This plays a critical role in the timing of when everyone awakens from each dream, which, as we know in real life, only last a few moments, but feel like hours.

Cobb tells his team to carry totems; a small object that can only be distinguished by them. The totem might be a loaded die-that only the holder of it knows which way it will always fall. That way, if they see the die in a dream and it falls the way they designed it to be loaded, they can rest assured they are in their own dream since no one else would have knowledge of the item. I cannot disclose more than this without potentially sacrificing or spoiling the suspense of the film. Simply know that Cobb has his own agenda in all of this, and his initial meeting with an old client (Ken Wantanabe) sets what the both the viewer and the dreamer perceive to be reality into tailspins; it's the most fun I've had at the movies since the Dark Knight. Small wonder it came to us from the same imagination.

Joseph Gordon Levitt, (originally of TV's Third Rock From the Sun) is an absolute treat here. His performance in the underrated "The Lookout" left me wanting more of him on screen, thankful he'd shed his TV moniker as an alien trapped in a teenaged boy's body. He plays Arthur, Cobb's technical assistant as a dry, stuffy, lump, and performs in a zero-gravity fight scene that the Matrix creators are probably gushing about. Incidentally, Levitt did all the stunt-work for that scene himself; a testimony to his dedication to the role. Another fine actor featured is Tom Hardy (Rocknrolla, soon to be released Mad Max remake). Eames (Hardy) is known for being a master of disguise within each target's dream. He mimics and hides himself in people's subconscious, taking on the characteristics of familiar faces and personalities to make the dreams more real, and less suspicious to the dreamer.

Honestly, Ellen Page (Juno) is the weak link among the cast which is surprising, given her phenomenal Oscar nominated turn in Juno. Her character, Ariadne is called upon by Cobb, to be an architect inside these hijacked dreams; to duplicate places, scenery from the dreamer's past to lend to the illusion. For whatever reason, Page cannot deliver the urgency her character needs; it's not a bad performance by any means. It's simply noticeable as less then stellar when compared to the treatment of all of the other characters, devices, action and story. I am willing to forego it and forgive it because there's enough going on to keep the viewer engaged, though she did slow the pace of the film-and I think her character was intended to do so as a voice of reason for Cobb. Sadly, it doesn't translate fully-and I simply wanted to just get on to the next scene.

For all of its opulence in the visual effects department, one realizes these are merely a byproduct of a wonderfully told story-but a necessary byproduct. Inception doesn't get past the first 30 minutes without the stunning visuals; the stunning visuals aren't in the first 30 minutes without a well thought out story. Credit can be given to Nolan for building a strong team around himself. The cinematography is breathtaking. Tom Berenger, the stunning Cillian Murphy, and Michael Caine are also featured. Again, it is not a perfect movie. It's just one that everybody will be talking about, that thousands of people will view multiple times, and one for which multiple Oscar nominations are imminent. That's about as close to perfection as one can ask.

so close

ok. i don't think another pair of children at 6 and 4 years of age could have done as well with 1,120 miles of driving over a 19 hour period as ours did. i will list the travel details sometime later in the week, but i am so very proud of everyone. we stuck to budget, except gas---a little over there because the AC sucks the life out of the horsepower---but we were under in food, so it's going to even out. the hotel in GA/FL was great and we are about 3 hours away from the Magic. Or maybe, with our anticipation, with our blessed travels, with our blessed kids, the Magic is already here. :-)

curiouser and curiouser

hello dear blog,
i'm sorry i've neglected you. it's now down to only four days left before the big trip and i'm not sure, but i think that the reason i've not been blogging is i've been a little tooo caught up in the anticipation of this trip to actually to put words to it, or to take time to try? regardless, i am here. i am hoping the drive is not as daunting as many purport it to be. i am hoping we have curtailed a majority of the pitfalls of those who have gone before us. i foolishly worry we'll stop for a restroom break and five miles down the road in the middle of nowhere i will hear, "i need to go potty again." i wonder when we finally tell them if they will be as excited as we've been about the whole experience, even the keeping it a secret part!

i wonder if the park will overwhlem them? i wonder if the rides will be too scary? i wonder if the characters will freka them out? i wonder if they'll throw temper tantrums? i ask myself if they will get too tired out and we've spread out time too thin? i'm scared they'll wander off. i wonder if luke will like sea world MORE than disney? i wonder if megan will pout seeing ariel with legs and nots a fin? i hope the weather holds out...i hope that they don't want to sepnd all the time at the pool instead. i hope they can sleep in the car and through the nites in a strange room.

anyway, blog. thanks for listening. if you could talk i bet you'd tell me, no worries, anytime, and that the only way to answer any of my questions is to just take it all as it comes and that despite all the questions, even if every thing i'm scared for ends up happening (along with some others that i haven't imagined) it will be worth it. the trip of a lifetime.

so it is written. so it shall be done.

overcome by anticipation part 1.

my first question with only one month to go before disney is.....
how long before my back starts to hurt on the drive? :-) i have this nasty habit of sitting squantch-wise (incidentally, never had to spell squantch before now--wondering how i did?) when i drive, and my left upper glute (yes, my butt) completely falls asleep after about an hour. the right side however, ends up being more painful than having to listen to just about anything on CNN or FOX news...i sure hope i can combat it or avoid it altogether. i am stressing it a bit.

hooooorayyy

i had a not good night or morning. i am stressing money and this disney trip and definitely work and about a hundred other things. and i was baout to blog a litany of things that i am just plain fed up with when a call came in that changed the whole face of the day. financially, the call relieves several burdens and allows me to tithe accordingly and i am excited to put the money to good use.

things that fall under the good use category:
donations to love146.org
donations to invisiblechildren.com
paying off three debts and having enough left over to pre-pay an estimated tax for next year
putting some aside for the awesome trip that awaits our family in 5 weeks and one day.
and maybe buying a pizza tonight so that i don't have to cook when i'm all stuffed up and tired.

Lord, You are indeed good and great, and thanks for my life that without You I absolutely don't deserve.

the griswolds

Look out National Lampoon's. Here come the Bramer's. Our Bramer family vacation to Walt Disney World is less than 6 weeks away at this point! And yes, we are driving there. Gluttons for punishment you say? Nah. Just thrifty and wanting a fun, good, old-fashioned family vacation together. There are no stops to visit a "cousin Eddie" along the way. There are no plans to pick up an "Aunt Edna", or to try and take any shortcuts.

Sarah and I have decided to do this trip like, 90% for our kids, and the rest, I think, for ourselves. I know there are haters out there---not Disney fans at all, the corporate, branded happiness that it peddles. I am coming from a place where it was my lifelong dream to work as an animator for Disney (that or be a wide out for the Buffalo Bills) and had even signed a letter of intent to attend Disney's premiere art institution for my studies. It didn't work out, and that's OK. I've been back as an "ADULT" to Disney an average of every 3 years since graduating high school, and if I could afford it, I'd probably go even more.
My perspective is this...everything that's not illegal, is acceptable to partake of, in moderation. Because honestly, when we get in that car, and they ask where we're going (yes, we're keeping it a total surprise from them), why we've been driving so long, I can't wait to explain to them where we're taking them. I chuckle at the whining I can already hear of "Are we there yet?" (I'm sure I'll feel differently at the time) I can't wait to see Luke's face when we eat at the Coral Sea restaurant INSIDE a gigantic fish tank, or take them to Sea World. I am giddy at how Megan will react seeing Cinderella's castle and having the chance to meet her favorite Princesses. And I have to mentally prepare myself that their reaction might not be what I am hoping it to be, but I know, regardless, it is still very much worth it.
With every new developmental milestone that our children hit, I am made so very aware to how much my parents endured, sacrificed, planned and provided for me, and it breaks my heart and rebuilds it all in the same breath and I can never thank them enough. Long, tiring waits in line, bad traffic, pinching pennies to save for trips, these are just scratching the surface of what it takes to be a good parent like Clark and Ellen Griswold tried to be. And I'm hoping with those good-spirited intentions, if we do happen to fall short of expectation, that at least it will be an amusing anecdote to look back on and laugh. Like Chevy Chase with his pants around his head wandering the desert. I am so excited when I daydream about it that words fail. I am literally moved to tears about this trip.
Thanks to Richard and Sue Bramer. The best parents I could have. Maybe part of this trip is actually for them, too, and all the "Griswolds" out there, who just want to give their children the world. In this case, Disney World. Sarah and I will be blogging regularly about the trip. Be sure to check back.