When Darren Aronofsky’s Noah came out in 2014, the website I was writing for at the time sent me to screen it and review it. The film stars Russell Crowe as the biblical Noah and follows his ark-building journey after God warns him of a great world-cleansing flood. Animals arrive two-by-two for the cruise, forty days of rain ensues…you know the story. Amongst my original thoughts was the following:
“This is probably Aronofsky’s least personal work — the close-quarter character examinations of Pi and The Wrestler aren’t at play here, and while the character of Noah is drawn quite well, the confines of a big-budget blockbuster based on what may be the most widely-read story of all time just doesn’t allow for as much intimacy.”
I was wrong. Not about the impersonal nature of the film — that’s still the case — but about Noah being based on the Bible.
Continue reading Face Off: Noah’s Ark (1999) and Noah (2014) →
Tootsie was a milestone for Sydney Pollack for a variety of reasons, some of which were trumpeted by adoring critics in 1982 and some of which took the ensuing decades to gestate. Today, with the benefit of Pollack’s entire career in retrospect, Tootsie holds strong as one of the director’s finest achievements. It is arguably his masterpiece, sure, but perhaps more significantly it is arguably his first masterpiece. That’s important for a film about a struggling actor finally doing what is necessary to create his first unadulterated success, finally testing himself to a limit he’d never considered before, being rewarded for it, and unexpectedly touching other lives along the way.
Of course “masterpiece” is relative. Three Days of the Condor might be a masterpiece, as might Jeremiah Johnson to a somewhat lesser extent. One of Pollack’s unsung achievements is The Electric Horseman, not a masterpiece in and of itself but masterful at times nonetheless. Saying one is better or worse than the other is uninteresting. What’s truly fascinating — and what makes Pollack one of the greatest American directors of his time — is the clear way in which elements of those earlier films come together in collaboration on Tootsie. Consider the most basic triumphs of each of those three films: Condor was unrelenting from start to finish, Jeremiah hung itself on the power of a single actor, and Horseman was simultaneously a comedy and a tragedy.
Continue reading Tootsie (1982) →