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November 17 - The Georgetown Voice

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leisure<br />

10 the georgetown voice<br />

november <strong>17</strong>, 2011<br />

Clooney ascends in <strong>The</strong> Descendants<br />

by Henry Thaler<br />

Another excellent addition<br />

from the master chronicler of<br />

middle aged men in crisis, Alexander<br />

Payne’s <strong>The</strong> Descendants<br />

sweeps the viewer away<br />

with its beautiful Hawaiian<br />

vistas and playful ukulele music,<br />

all the while breaking our<br />

heart with the sad situation of<br />

the King family. A grittier—and<br />

probably more realistic—version<br />

of Hawaii is presented,<br />

with frequently cloudy skies,<br />

dirty pools, and fake smiles.<br />

This is no Mary-Kate and Ashley’s<br />

Hawaiian Beach Party.<br />

Watching the film, for the<br />

first time in my life I felt sorry<br />

for George Clooney. He plays<br />

Matt King, a man whose life<br />

is absolutely perfect—at least<br />

from a bird’s-eye-view. He’s<br />

a successful lawyer, a family<br />

man, and the sole trustee of a<br />

parcel of much-desired tropical<br />

property that could replenish<br />

his family’s coffers several<br />

hundred million times over.<br />

George Clooney is about to beat the shit out of the paparazzi who was trying to hide in the back seat.<br />

Lars von Trier is no stranger<br />

to the grotesque. His 2009 film<br />

Antichrist, an antidote to his debilitating<br />

period of depression,<br />

featured talking animals, the selfmutilation<br />

of body parts you’d<br />

rather not know, and, quite unexpectedly,<br />

gorgeous cinematography.<br />

In Melancholia, the director<br />

introduces a lavish wedding<br />

party-gone-wrong in the context<br />

of the imminent destruction of the<br />

earth in his typically provocative<br />

fashion. Yet to lead actress Kirsten<br />

Dunst’s credit, the film is able to<br />

explore unsettling themes without<br />

gratuitous gore in its presentation<br />

of picturesque, slow-motion<br />

imagery, Wagnerian opera,<br />

and genuinely erratic characters.<br />

<strong>The</strong> film is set in an extravagant<br />

mansion on the wedding<br />

night of Justine (Dunst), a bi-polar<br />

beauty, and Michael (Alexander<br />

Skarsgard), a feeble-minded hunk<br />

who, not surprisingly, has trouble<br />

figuring out what makes Justine<br />

tick. As the burdensome wedding<br />

drama plays out, the selfish,<br />

mentally deranged Justine throws<br />

tantrums, screws a stranger, and<br />

urinates on the mansion’s golf<br />

course—all with her wedding<br />

dress on. Clearly, there’s something<br />

wrong with this woman.<br />

<strong>The</strong> wedding acts as a sort of<br />

introduction to the film’s second<br />

half, a grim countdown to Earth’s<br />

collision with Melancholia, a<br />

much larger planet that—as Justine’s<br />

brother-in-law John (Kiefer<br />

Sutherland) observes with his telescope—is<br />

inching its way towards<br />

our planet. Meanwhile, Justine’s<br />

sister Claire (Charlotte Gainsbourg)<br />

takes the still mentally ill<br />

bride to live with John and their<br />

son in the mansion.<br />

As this cast of characters waits<br />

for the coming of Melancholia,<br />

they react quite differently. John,<br />

who displays a vast knowledge of<br />

astronomy, is confident Melancholia<br />

will pass by harmlessly, Justine<br />

welcomes Earth’s destruction with<br />

her miserable outlook on life, and<br />

Claire is torn—hopeful at times,<br />

yet doubtful at her core.<br />

While Justine has the marks<br />

of von Trier’s morbid take on hu-<br />

But dig a little deeper and<br />

everything around him is falling<br />

apart. His wife was in a<br />

boating accident and is now in<br />

a coma. His youngest daughter,<br />

Scottie (Amara Miller) is a<br />

foulmouthed and impressionable<br />

bully. His oldest daughter,<br />

Alexandra (Shailene Woodley)<br />

is an institutionalized drug<br />

addict with a thing for dumb<br />

older men, especially a friend<br />

named Sid (Nick Krause).<br />

If his immediate family<br />

wasn’t trouble enough, King’s<br />

manity, Claire balances out this<br />

negativity, if for no reason other<br />

than to shelter her young son<br />

from the terror of the situation.<br />

But as Claire’s hope fades and<br />

anxiety sets in, the film begins<br />

a ride toward a climax that is as<br />

terrifying as it is stunning.<br />

Some of the slow-motion<br />

images von Trier conjures<br />

seem so anachronistic or selfindulgent<br />

that it’s almost as<br />

if he thought them up and<br />

said “put them in the movie”<br />

without consideration of the<br />

plot. But then there’s a shot of<br />

Dunst’s naked, moonlit body<br />

lying next to a mossy river—a<br />

beautiful rendition of Justine’s<br />

surrender to nature. Does it<br />

sound like bullshit pretending<br />

to be art? Well, it might be, but<br />

it looks so damn good that going<br />

over-the-top feels like the<br />

right thing to do. And let’s face<br />

it: who wouldn’t lie naked in<br />

the moonlight in the face of the<br />

apocalypse?<br />

Gainsbourg, Dunst, and<br />

Sutherland handle their parts<br />

with a careful balance of pa-<br />

extended family has been giving<br />

him grief about the sale of their<br />

family land, from which they<br />

stand to profit greatly. <strong>The</strong> revelation<br />

that his now-comatose<br />

wife was cheating on him sets<br />

King off on a cross-island journey<br />

to confront the home-wrecker<br />

and bring a sense of closure to<br />

his overlapping crises.<br />

Clooney is remarkable playing<br />

a man trying his best despite<br />

being totally ill-equipped<br />

and unprepared for the hellstorm<br />

he inherits. He is a man<br />

who never wanted responsibility,<br />

either for his kids or for the<br />

large amount of land he is entrusted<br />

with. But through the<br />

course of the movie he grows<br />

from being a terrible father to<br />

being someone in control of his<br />

emotions and his destiny.<br />

<strong>The</strong> children are breakthroughs.<br />

King’s two daughters<br />

and Sid are all deeply flawed<br />

human beings, but they have<br />

wonderful moments where<br />

both their hurt and steely resolve<br />

shine through. Woodley’s<br />

take on Alexandra is especially<br />

impressive—as the teenager<br />

who, despite her own problems,<br />

holds her family together,<br />

thos and hard-edged drama,<br />

and Dunst deservedly won the<br />

Best Actress Award at Cannes<br />

for her role. <strong>The</strong> film only really<br />

lags at the start, where the large<br />

wedding ceremony is sprinkled<br />

with too many familiar faces—<br />

Stellan Skarsgard, John Hurt,<br />

and Udo Kier—that their appearances<br />

feel more like cameos<br />

than supporting roles.<br />

Lars von Trier clearly has<br />

some issues, but the way he’s<br />

she is the true moral center of the<br />

film. Sid also stands out as someone<br />

whose political incorrectness<br />

is both hilarious and appalling.<br />

But a nighttime chat with Clooney<br />

reveals his own struggles,<br />

proving that it never hurts to be<br />

a little empathetic.<br />

Payne is a natural at chronicling<br />

older men in crisis. In movies<br />

like Election, About Schmidt,<br />

and now <strong>The</strong> Descendants, characters<br />

who have tried to do the<br />

right thing all their lives are confronted<br />

with the stark reality that<br />

the world is a little bit more cynical<br />

than they had imagined, and<br />

it comes time for them to cope.<br />

It’s the cinematic equivalent of a<br />

mid-life Bar Mitzvah, and Payne<br />

captures the struggles, transformations,<br />

and oftentimes near<br />

transformations very well.<br />

Without spoiling too much,<br />

<strong>The</strong> Descendants can be viewed<br />

as a softening of Payne’s sharp<br />

bite, as Clooney’s character has<br />

his heart in the right place. In<br />

the end, the film is an extremely<br />

satisfying depiction of heartfelt,<br />

well-written characters struggling<br />

with the weightiest issues<br />

of all: death, family, and prime<br />

real estate.<br />

<strong>The</strong> apocalypse has never looked this good<br />

by John Sapunor<br />

imdb<br />

Row, row, row your Dunst, gently down the stream.<br />

able to project his disturbing<br />

mind onto the big screen makes<br />

Melancholia truly unique in the<br />

supposedly overdone genre of<br />

apocalyptic movies. If you’re<br />

thinking twice about seeing pretentious<br />

art house films, Melancholia<br />

will, at the very least,<br />

keep you entertained. And if<br />

you have a crush on Mary Jane<br />

from the Spiderman series, you<br />

may even find the film a little<br />

titillating too.<br />

imdb

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