Oscars 2011 Death Race Preview: The Fighter and A Film Unfinished
Discovered after the war, the unfinished work, with no soundtrack, quickly became a resource for historians seeking an authentic record, despite its elaborate propagandistic construction. The later discovery of a long-missing reel complicated earlier readings, showing the manipulations of camera crews in these “everyday” scenes. Well-heeled Jews attending elegant dinners and theatricals (while callously stepping over the dead bodies of compatriots) now appeared as unwilling, but complicit, actors, alternately fearful and in denial of their looming fate. — from the IMDb/Sundance summary of the film
When A Film Unfinished‘s creative team appeared on WNYC a few months back to discuss the documentary, I was intrigued by the “discovery of a long-missing reel” part of the story, but Leonard Lopate’s discussion with the filmmakers only hinted at how relentless the film is. Part of AFU consists of the camera pointed at survivors watching — and at times unable to watch — the footage, and the footage itself is awful, but when the sweet old ladies who have come to bear witness yet one more time shrink down in their seats with their hands over their eyes, it’s very nearly unbearable.
This is the point, of course, and it’s a film, like Dear Zachary, whose excellence as a document I have to qualify by mentioning its severity as an experience. Also like Dear Zachary, much of its power comes from its ability to communicate that, even under the circumstances, grace had not entirely abandoned the proceedings. Observing a propaganda sequence in which “well-to-do” ghetto residents give a tour of “their” well-appointed apartment, one survivor looks at a centerpiece and snorts, “Where did one ever see a flower? We would have eaten the flower.” It’s a ghastly truth, and it’s in a subtitle, but then, it’s flawlessly put.
***
The Fighter is a great movie, somehow, even though the sum of its parts adds up only to “very good.” There is some moldy “these people wouldn’t talk like that” dialogue, and a few scenes director David O. Russell lets the air leak out of while trying to stretch them (and our discomfort as a result); the movie has a little too much fun at the expense of ’90s fashions and the dowdy, almost simple-seeming sisters.
On the other hand, Russell goes with an unconventional overall tempo — the movie has the conventional three acts, but feels more like several dozen micro-acts, so you don’t always know where you’re going next — and the script pays close attention to certain beats with outstanding results. Although some of the dialogue lands like a bellyflop, the writing’s depiction of how emotional vampires behave when their blood source is threatening to dry up is pitch-perfect.
It isn’t really a story about boxing, of course; it’s a story about family, the way each of us must fight to become, the way not everyone wins that fight. Christian Bale’s rendition of a has-been junkie is wrenching, but also very funny. More painful is his portrayal of the big-shot older sibling who’s more pitied than respected.
Bale is fantastic and brave throughout — I especially admire his ability to get creakiness and ageing into his movements at times — but I also really liked Mark Wahlberg and Jack McGee, who seemed genuinely related and who share the ability to drop a killer mini-eye-roll when the moment calls for it. Wahlberg’s role is a lot quieter than, well, anyone else’s here, but his last scene in the film is great, a look into the camera and then away that — like an earlier shot of crossed forks on a room-service plate — contains a novella. Sometimes, a tiny thing like that, from a guy who doesn’t get much credit for that kind of work, gives a movie its greatness.
It’s an uncomfortable movie in places — sometimes for the viewer, sometimes ungainly with itself — but it will hold your attention for two solid hours. And I’ll call the Oscar for Bale right now.
Tags: Christian Bale David O. Russell documentaries Jack McGee Leonard Lopate Mark Wahlberg movies Oscars 2011 Death Race
It was Bale’s expression in the last moment that did it all for me. You couldn’t hire a boy from New England to play that part so you could see everything that was going on underneath. He was truly beautiful in a painfully ugly role.
I absolutely concur with that last scene – just killed me. I hope Wahlberg gets a nod, though he probably won’t because he was so very understated. I really like the Russell/Wahlberg partnership.
Bale had the flashier “I AM ACTING” role, but he was so mesmerizing and just astounding that he does deserve any accolade he gets.
Oh, and his “is that a cockah spaniel?” line was seriously hilarious and perfectly delivered.
I haven’t seen The Fighter yet, but I’ve read many reviews that say this is the role where Bale’s Method madness and actual performance meld seamlessly, so I’m definitely going to see it. And for Melissa Leo.
I took in a triple feature a few weekends ago – The Fighter, True Grit, and Black Swan. I was least interested in The Fighter, and it turned out to be my favorite of the three. Maybe it was the easiest to consume, or the most charming. But little moments have stuck with me in the weeks since. Like that look of Wahlberg’s, and many more just like it.
I also think all four of its leads had maybe their best performances ever, and I have to give a special shout out to Amy Adams. I didn’t actually know that there was an off-switch for that dewy-eyed, chirpy thing she usually has going on.
I really liked The Fighter, as well as the performances you mentioned. It’s always nice to see Melissa Leo get good work; she was always awesome on Homicide: Life on the Street, but that was a long time ago. What took so long for people to figure out how great she is?
All y’all Leo fans should watch Frozen River if you haven’t already. She’s so fierce in that.
@Sars, I’ll second your rec for Frozen River. Incredible.
@ Annie: Ever since H:LOTS I have followed Leo’s career, and had the opportunity to meet her briefly when she performed in a summer theater series at Vassar College several years ago. She was just terrific in her role as a emotionally unstable wife/mother in the play I saw, and when my friend and I approached her after the show to give our compliments, we mentioned how nice it was to see her in something other than the Tough As Nails Female Cop role. She was appreciative, because she loved Homicide, but certainly expressed to us how frustrating is was for her to have been typecast in those types of roles. I’m so glad to see how many non-cop roles she’s been getting lately.
Topic? The Fighter is totally on my list, especially for the press Leo has been getting, but also for the many excellent reviews I’ve read. Thanks, Sars.
Those sisters had some of the worst hair I have ever seen. One in particular had nothing but three-inch roots and damage. It was hilarious (although I hope her hair is healthier that it looked in that movie, otherwise she needs to shave it off and start over).
And yeah, the Oscar is Bale’s to lose and deservedly. (I’m doing well with Oscar-buzzed performances and movies this season, I’ve seen most of them. I think it’ll come down to Bale and Colin Firth for The King’s Speech.) There were times where I thought he was funny, times I was furious with him, times where I was proud of him, I hurt watching him go through withdrawal, I was embarrassed for him sometimes … he was stellar. According to Wiki, Dicky Ecklund is still a mess.
For some reason, when one of the sisters said to Leo’s character that maybe Mickey could try something new and Leo snapped “Shut up! You owe me $200,” I was cracking up. I have no idea why, but I found that hilarious.