Tag Archives: kasi lemmons

Revisiting Jonathan Demme’s The Silence Of The Lambs on the big screen

I got the chance to see The Silence Of The Lambs on the big screen last night and was very curious to see if it held up as I had only seen it once before, when I was like fifteen and on VHS no less. Well. This has to be one of the most airtight, hair raising, gorgeously produced psychological horror shows ever made and it really, *really* pops in a darkened theatre. I remembered bits and pieces, some of the iconic interplay between Anthony Hopkins’s Dr. Hannibal Lecter and Jodie Foster’s Clarice Starling as well as all the freaky pervo stuff with Ted Levine’s Buffalo Bill and had retained the general atmosphere. I *knew* I loved this film already but getting to see it in that environment of the theatre with focused, uninterrupted absorption really reminded me not only of what a masterpiece this is but also why it’s important to see films theatrically to begin with.

From the moment we see Clarice running through those misty Quantico woods to that final extended shot of Lecter strolling down that street in the Bahamas this is fluid, brilliantly edited, first rate storytelling and the one aspect that stands out most to me is the way the characters relate to each other psychologically. Scott Glenn’s Jack Crawford handpicks Clarice in this assignment for a reason. Hannibal takes an immediate and intimate interest in her for a reason. Clarice toughs out the terrifying aspects of this case and taps into her own vulnerability for a *reason.* We the audience are never told exactly what these reasons are but they’re clearly spelled out in each mannerism, each glance, each performance, there for us to find and digest each in our own way. There’s a reason this film crushed the Oscars, the acting awards in particular. Hopkins lingers over every scene like a cobra, his voice that of an icy river and the horribly calibrated intellect behind it scarier still. Foster shows the wounded orphan in Clarice, toughened up by years of hardship and her training at the academy, all her innermost qualities brought out by Lecter’s presence in a relationship that’s hard to classify. “The worlds more interesting with you in it” he assures her later in the film and we silently beg to know what’s going on in his head. Levine is every bit as scary as we remember, finding the human notes in this egregious monster and making him one of the most iconic serial killers in cinema. Glenn is buttoned down and unassuming as Crawford but we slowly see from his acting that it’s a ruse and he’s as sharp as any of them under that well kept veneer. The rest of the cast are carefully picked and include the likes of Kasi Lemmons, Charles Napier, Tracey Walter, Daniel Von Bargen, Anthony Heald, Frankie Faison, Brooke Smith, Diane Baker, Roger Corman, George A. Romero and Chris Isaak all doing great work.

One sequence in particular demonstrates how well this film holds up and why it should be seen on a big screen, and it’s where Lecter escapes from federal holding, dodging dozens of agents, SWAT operatives and sheriffs along the way. It’s an extended scene full of law enforcement lingo shouted breathlessly, a sneaky elevator roper dope, bloody special effects, desperate mustering of FBI forces to stop him all set to Howard Shore’s exceptionally creepy and exciting score. All that plus Jonathan Demme’s tight, succinct direction make a sequence that just hums along and showcases the film’s firm grip on horror, suspense, police procedural, editing, music and overall storytelling. They don’t get much better than this.

-Nate Hill

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Mind At War: Nate’s Top Ten Films on Mental Illness

The subject of mental illness is one that’s close and important to me as I myself am one of the afflicted, and it’s impossible to ignore that the treatment of it by Hollywood, particularly in formative years, hasn’t been so apt. Don’t get me wrong, I love stuff like Me, Myself & Irene or Split as entertainment but in terms of accurately representing the conditions that beset human beings, they haven’t been so hot. There are those films and filmmakers out there that strive to educate and enlighten or even just to craft an effective thriller or comedy and still stay true to real life, doing important work for the collective awareness and making terrific art/entertainment in one shot. Here are my personal top ten favourites!

10. Geoffrey Sax’s Frankie & Alice

Multiple personality disorders are popular in Hollywood but there’s a tendency to mock, sensationalize or tell a ‘real life’ story that’s later proved as fraud. This one showcases Halle Berry in a galvanizing dual performance as a go-go dancer afflicted by two very different internal identities and finding her life in splinters as a result. When a kind, compassionate psychiatrist (Stellan Skarsgard) makes it his mission to help her get back on track it becomes apparent just how challenging and horrific it must be to endure such a thing.

9. Dito Montiel’s Man Down

I heard this one sold one single theatrical ticket in the UK and didn’t fare much better here, getting squeaked into a quiet streaming release. It’s too bad because it is one haunting drama about PTSD featuring an implosive, incredibly intense performance from Shia LaBeouf as an ex marine who can’t psychologically reconcile his experience and is lost amongst his own trauma. Terrific work from Kate Mara as his wife and Gary Oldman as an army counsellor too.

8. James Mangold’s Girl Interrupted

Likely the most accessible and mainstream story on this list, Mangold’s look at a mental care facility for girls in the 60’s gets a superficial rep in some circles but I find it to be every bit the rewarding drama, ensemble piece and explorative journey that those who champion it say. Winona Ryder plays a wayward girl whose self destructive behaviour lands her there but it’s Angelina Jolie as a fellow patient diagnosed with borderline personality disorder that both anchors the film and provides it with a wildly unpredictable streak.

7. Martin Scorsese’s Shutter Island

This is of course a big old elaborate mystery film with a gigantic cast, many red herrings, tons of subplots and all kinds of stylistic fanfare. But if you look past all that there’s a harrowing and very realistic portrait of minds irreparably damaged, between Leo Dicaprio’s PTSD afflicted ex soldier and Michelle Williams in a haunting turn as his deeply sick wife. The film overall is a tantalizing guessing game and broadly covers the thriller board but the final act brings it right down to earth for a grounded, grim finale showcasing the brutal honesty of these illnesses and the heart wrenching tragedy they beget.

6. Terry Gilliam’s The Fisher King

Robin Williams gives one of his best performances as Parry, a once successful professor of medieval history who lost his mind following the death of his wife and now wanders the streets of NYC, homeless. Jeff Bridges is the radio DJ who befriends and tries to understand him and their relationship carries the film. So to does Gilliam’s knack for surreal visual storytelling, letting these fantastical creations run wild and giving us a glimpse into Parry’s damaged but fascinating mind.

5. Brad Anderson’s The Machinist

Christian Bale’s Trevor Reznik hasn’t slept in a year. Guilt, extreme weight loss and delusions are just the start of his problems. This is billed as and feels like a thriller but I think that’s deliberate on director Anderson’s part to put us in the hot seat next to Trevor, to make us feel the same paranoia and delusions of persecution he does. The atmosphere here is almost suffocating, the score a muted tangle of busted nerves and Bale’s performance something just this side of unearthly. When it all comes together and we see why he is the way he is it’s deeply sad but makes a kind of terrible sense and gives the film a final stab of emotional weight.

4. Debra Granik’s Leave No Trace

PTSD is only vaguely hinted at in this beautiful father daughter drama but it’s there in every frame, in every mannerism of Ben Fosters masterful performance. Him and newcomer Thomasin Mackenzie achingly display a family dynamic that has been set off balance by his illness, and the wedge it has driven both between them and between him and ever living a normal life again. This is a restrained yet heartbreaking film that gently unpacks its themes with kindness and compassion, letting a devastating final scene bring the whole point home heavily but somehow lightly in the same note.

3. David Cronenberg’s Spider

Ralph Fiennes give a focused, intense turn as the titular individual, a man released from a mental care facility and relegated to a London halfway house where all the scrambled and tumultuous memories of his past come tumbling down through the scattered web of his broken mind and into the present. Recollections of his parents (Gabriel Byrne and Miranda Richardson) are somehow shrouded from himself, by himself and as he tirelessly works to regain his sanity, he slips further away from it. Cronenberg uses shadows, dimly lit alleys and creaky, barren rooms to show how this character has been cast away from his own perception and wanders about like a lost soul.

2. Bill Pohlad’s Love & Mercy

The life and times of Beach Boys pioneer Brian Wilson are explored here, namely at two important junctures in his life. Paul Dano plays him younger, at the height of fame and success but poised on the cusp of a psychotic breakdown after stress and an unhealthy relationship with his abusive father (Bill Camp) reach a fever pitch. Decades later John Cusack embodies a much older Wilson, stuck under the tyrannical yoke of an evil, manipulative psychiatrist (Paul Giamatti) until he meets the love of his life (Elizabeth Banks) and a chance at a fresh start along with her. The scene of Dano putting recording headphones over his ears and closing his eyes in horror as he hears voices is one of the most brutally honest and realistic depictions of auditory hallucinations you can find in film. Wilson had a rough life and the film makes that very clear but it’s never ever sensationalist or exploitive and overall has a message about love, light and working endlessly to overcome any demons or struggles thrown into your path.

1. Kasi Lemmons’ The Caveman’s Valentine

Samuel L. Jackson gives a career best as schizophrenic former musician Romulus, a man afflicted by terrible hallucinations and delusions to the point that when he discovers a genuine murder conspiracy no one, including his police officer daughter (Aunjanue Ellis) believes him. This film is driven by a fascinating mystery narrative that takes Romulus from his cave in Central Park into the pretentious New York art world and beyond to find a killer. At heart though director Lemmons let’s it m be a serious minded exploration of what it must be like to live like that, to be constantly sabotaged by your own mind. Jackson’s brilliant performance and Lemmons effective use of surreal, mesmerizing imagery give us a compassionate, dynamic window into this man’s mind and in turn a unique, thought provoking piece of cinema.

Thanks for reading and stay tuned for more content!

-Nate Hill

Clive Barker’s Candyman

Clive Barker’s Candyman is bar none one of the best horror films ever made. Many factors can take credit for that, but the two chief among them are Tony Todd’s performance as Daniel Robitaille, the hook handed, honey voiced spectre that haunts even the frames he doesn’t appear in, and Philip Glass’s beautiful yet terrifying electronic score that rips through the story like a rogue orchestral piece with a life of its own. Production design and locations are also key here, as they filmed in Chicago’s infamous Cabrini Green Project for real, and it makes all the difference. Candyman is one of those urban legends, the angry ghost of an ex slave who was murdered, and now gets resurrected to raise hell whenever someone says his name in a mirror five times. That someone here happens to be college professor Virginia Madsen, who has heard whispered rumours among the locals and decides to research it a little too closely. Before she knows it she’s seeing Robitaille everywhere, dead bodies are starting to pile up and she begins to look an awful lot like the culprit. With the help of her boyfriend (Xander Berkeley) and colleague (Kasi Lemmons, always fantastic) she tries to get to the bottom of the mystery but Candyman is a tough curse to shake, and the killing doesn’t stop. Many of the actors here are genuine residents of the Green, providing both authenticity and a very human quality to the film. Todd is now something of a household name and has achieved cult status for this role, it pretty much set him up for good in the horror genre and it’s no wonder, he’s a hypnotic dark angel as Robitaille, with both seething menace and a crazy calm lurking behind those eyes. There’s moments of real fright that hold up to this day as truly chilling shockers, such as a kid getting ambushed off camera by Candyman in a park restroom and the horrific aftermath of a dog’s murder coupled with a missing baby, brought to life by Vanessa Williams’s vivid, heartbreaking performance as the mother. This is how you create an effective horror film, by balancing gore with story and character, creating an atmosphere in which we feel both lulled by the sights and sounds but always unsafe as to what could be lurking through that bathroom medicine cabinet or dark, graffiti scrawled hallway. A classic. There’s two sequels that aren’t too awful thanks solely to Todd’s presence, but they come nowhere close to this one.

-Nate Hill

The Caveman’s Valentine: A Review By Nate Hill

 

 The Caveman’s Valentine has always fascinated me. As someone who has a mental illness, I’ve always tried my best to seek out films that portray such conditions in a respectable, inquisitive and enlightening tone. While this one cushions it’s earnestness with a slightly lurid and generic murder mystery, much of its desire to explore its character’s inner mindset shine through superbly and with much more authenticity than other films that try the same. Unless you suffer through, or have some intimate experience with someone like this protagonist, it’s tough to artistically represent their state. This one manages very well, and Samuel L. Jackson gives one of the most memorable, affecting and curiously overlooked performances of his career so far. Jackson is an actor who almost always gets cast in assured, authoritative roles. Here he portrays exactly the opposite of that as Romulus, a severely schizophrenic man who lives in a cave in Central Park, New York City. Romulus was once a brilliant pianist and a student at Juilliard, before his illness cut his career and personal life painfully short. He spends his days in confusion, raving in delusion about an all powerful man named Stuyvesant who secretly manipulates everyone in the city. When a young man is found murdered near his cave door, he feels an internal compulsion to find out what happened to him. As you might imagine, a man with his affliction might not make the most reliable detective, but Romulus tries his best and in between bouts of paranoia he makes his way towards weirdo avant grade photographer David Leppenraub (always excellent Colm Feore) who may have had something to do with the homicide. He also has a daughter (Aunjanue Ellis) who is a policewoman and somewhat resents him through her ignorance, and a wife (Tamara Tunie) who no doubt left, but still speaks to him in segments of his visions. Because his perceptions can’t be trusted, even by himself, it makes it a touch and go plot-line that’s heavily accented by frequent visual detours into his own consciousness, where humanoid Moth Sarefs hauntingly play unearthly instruments. Director Kasi Lemmons is not only a woman, but an actress herself, both traits which I believe lead to a certain intuitive advantage in filmmaking. I absolutely love how she moulds the narrative to patiently linger with Romulus’s perception of events and never make them sensationalistic or rushed. Even though Romulus walks through a dangerous, real world story of murder and corruption, the film always sticks with his childlike, abstract and very intangible internal view of the world, a choice which most films either don’t possess the courage or aren’t allowed to do. Jackson is subtle, complex dynamite in what is for me the best work of his career, playing completely against type and most definitely the opposite of his usual instincts to give us something truly special, to any viewer who wishes to exhibit the same patience and understanding that the filmmakers have strived for in making this unique piece.