November 17 - The Georgetown Voice
November 17 - The Georgetown Voice
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