Honestly, I was a bit skeptical to watch The Favourite (2018) at first. Being based on the real-life 18^th century love triangle between Queen Anne, Sarah Churchill and Abigail Hill, it has the possibility of being like the many period films that have come out over the past twenty years. But, knowing the work of its director, Yorgos Lanthimos (The Lobster is really great), I had a feeling as well that it would be different.

By the end of watching this film, I found myself a little overwhelmed with how many layers it would carry. Firstly, obvious lesbian themes could be seen. With Olivia Colman’s character (Queen Anne) carrying sexual relations with both the characters of Emma Stone (Abigail) and Rachel Weisz (Sarah), it was a bit jarring to see it within this period and within this genre. It really worked well though, as it would contribute a lot to the intensity, emotion and the many twists that the film would carry.

Of course, with one of the main characters being a queen, politicking is also very prominent within the film. Nicholas Hoult’s (Robert Harley) character would serve this theme the most, as we see him and Abigail conspire behind both Queen Anne and Sarah’s backs. This would be tweaked though, as it did carry a lot of humor in it as well. Being, again, a period film, The Favourite does seem to parody the regality and the pompousness that medieval courtroom scenes would carry. A lot of silly and overly-pretentious faces are seen from the politicians within these scenes, as a decision is made or as arguments escalate. It really was refreshing to see this type of scene be tweaked a bit, just to make them a bit more interesting within this film.

Darkness is also a big factor throughout the course of the film, as it didn’t really hold back on the drama and the evilness that the characters carry. Having title cards to encapsulate the mood that should be felt within each set of scenes, really did help within this regard. With each of these cards being the “mic-drop” quote that should be heard from the period that it represents, I knew the tone that I was bound to see right away. And, these title cards really didn’t disappoint. There were some sets of scenes which carried a lot of betrayal and suspicion, while other sets carried a lot of sorrow and despair within them. With the aforementioned drama that unfolds as well, we could see the main 3 show these raw and these unapologetic personalities, which makes you either hate them or root for them.

The way the story concludes only is an amalgamation of all that drama and all that politicking. With Abigail taking control away from Sarah, we could see how we go from rooting for the former into hating her at the end, with the vice-versa being seen for the latter. This contrast of how these two characters develop only serves the time period shown by the film and the bipolar personalities of historical figures that fit within it.

Yorgos Lanthimos, again, didn’t fail to impress me with how he handles dark comedies and brings them onto another level. It wasn’t a surprise either to know how well this film was received by the public and by the critics, and I am really excited to see how this director can revitalize genres just like he did for period films.

A Review on Velvet Goldmine by Todd Haynes – 172297

Growing up, I listened to a variety of music as influenced by my father. On weekends, I’d wake up to a playlist with the likes of Depeche Mode, The Smiths, Duran-Duran, The Cure, Tears for Fears, Led Zeppelin in his repertoire—and the list goes on. He had always talked about David Bowie back then, but I had never gotten a chance to listen to his discography. I even recall his attempt at explaining the difference between Ziggy Stardust and David Bowie—what with the whole Iggy Pop fiasco. After a seven minute attempt at getting it through my head, he had eventually given up as my 11 year-old self struggled to understand the concept of alter egos in the face of the music industry.

With Velvet Goldmine shown during class, however, I was surprised to have been able to piece my little knowledge of David Bowie, his Ziggy Stardust alter ego, and his previous relations to Iggy Pop, with my understanding of the film. Alongside Trainspotting, My Private Idaho, and Sorry to Bother You, Velvet Goldmine finds its way into my top picks and favorite films studied throughout the semester. Having been awarded with Best Artistic Contribution at the 1998 Cannes Film Festival, it is no doubt that Todd Haynes had managed to demonstrate cinematic excellence both visually and musically while successfully telling a non-linear narrative and the usage of flashbacks. The story of Velvet Goldmine surrounds the investigation ensued by English journalist Arthur Stuart on the whereabouts of glam-rock icon Brian Slade. In commemoration of the tenth year anniversary of his disappearance from the industry, Stuart aims to find out how Brian Slade had gone from the spotlight to the shadows of media attention. In several interviews with the people who were part of Slade’s life, such as his previous business associates, and ex-wife Many, an encompassing narrative is formed about the rise and fall of Slade’s musical career with details only those close to him can provide—reminiscent that of Citizen Kane, according to some critics.

Inspired by David Bowie, Brian Slade is an androgynous glam-rock star with an alter ego called Maxwell Demon in contrast to Bowie’s Ziggy Stardust. “Velvet Goldmine” itself is a title of one of Bowie’s side tracks, lyrics written through the perspective of a groupie who lives to worship his alter ego and persona Ziggy Stardust. Before rising to stardom, Brian was initially married to American personality Mandy Slade, inspired by Angie Bowie. Mandy and Brian soon settled on getting a divorce following Brian’s bisexual affair with Curt Wild.

Wild, on the other hand, was inspired by both rockstars Iggy Pop and Lou Reed. In contrast to Slade’s British glam-rock scene, Curt had indeed inspired a wilder take on the music industry brought about by his being American alongside his inclination to the punk lifestyle. His unabashed difference and uniqueness made him stand out from the rest, eventually catching the eye of Slade both personally and professionally. In an interview with the Stephen Dalton of the British Film Institute in 1998, director Todd Haynes says, “We have a very modest goal for this film. That’s just to turn every gay person straight and every straight person gay.” A film in the line recounts Slade’s claim that “everybody is bisexual.” Glam-rock paved the way for cultural, sexual, and societal revolution, at least within the British context. This allowed the people, mainly the youth, to express themselves freely; may it be through fashion, music, clothing, or makeup, blurring the lines between gender roles. True to his word, director Haynes explored the themes of fashion, bisexuality, and experimentation of music evident through the film’s production design and scoring. The musical segments and numbers in the film were telling of the style each character possessed, and how the theatrics had influenced their massive fan following. According to Sandy Powell, the film’s production designer, much of the content is Bowie-inspired, having used the British icon as a template for the 1998 masterpiece. Successfully encapsulating the Bowie era of England and blending its own flavor to the glam-rock concoction, I can say that in its 123-minute running time, Velvet Goldmine is victorious in immersing their 21st century audience in the glam-rock culture and sexual rebellion of the 70’s.

A Review on My Private Idaho by Gus Van Sant – 172297

Having no prior knowledge of My Own Private Idaho before viewing it, I was surprised to see River Phoenix on the big screen. Because of my father’s influence, I grew up watching River’s older films when he was still a budding child actor, such as Stand by Me and Explorers. Seeing both Keanu Reeves and River Phoenix take on much mature and diverse roles was already enough to keep me on my toes for the rest of the film screening.

River Phoenix portrays main character Mike Waters, a penniless street hustler who does odd jobs that are often sexual in nature in order to make a living. He is diagnosed with narcolepsy, which as defined by the movie in its opening sequence, is “a condition characterized by brief attacks of deep sleep” and are forced to suffer through these attacks alone without the help and support of what’s left of his family. In the first few scenes of the film, he falls into a deep sleep every so often, with recurring images of his mother flashing before he falls asleep. These are triggered by stressful situations in which Mike gets himself in, or objects, places, and older women that are reminiscent of his mother. In these visions and hallucinations, Mike sees his childhood home, flashbacks of his family of three together,  and even imagines his mother cradling and reassuring him that everything will be okay. More often than not, these narcoleptic episodes serve as transitional devices to further the film’s storyline. Whenever Mike wakes up, he ends up in a different place or even back home with the help of his friend Scott.

Scott Favor, played by Keanu Reeves is, Mike Waters’ best friend. A rich kid born to a mayor for a father, Scott simply engages in street hustling and prostitution to spite his parents—mainly his dad whom he hates because of difference in beliefs and who thinks that Scott is nothing but a disappointment. Unbeknownst to his father, however, Scott’s actions are a mere device to his grand scheme of claiming his inheritance once his father passes away, and he is of age. Moreover, Scott has divulged plans of climbing the Portland political sphere as mayor, just like his father. The film’s themes of loneliness focus on the emotional trauma and detachment experienced by these street hustlers: mainly Mike himself who has never had a functional family but Scott, who eventually rejects his confession of feelings. In preparation for his portrayal of Mike, there have been videos on the internet circulating about River’s conducting of his own personal research. He interviewed street hustlers in order to gain more insight about the role played and to be able to resonate deeply with his character. (Two of the street hustlers he had interviewed were casted in the film. The nine-part interview can be found here: https://www.youtube.com/watch?v=wzdC_z6D37s.)

In the middle of the desert, the two have their moment of peace and silence amidst all the chaos and sexual transactions in the city. Mike confesses his feelings for his best friend, albeit hesitantly. Here, we can infer that Scott is still confused about his bisexuality. He claims that he is willing to have sex with a man for money, but believes that two men cannot fall in love with each other. Mike claims to love him even though the feelings are not reciprocated. Nonetheless, Scott still accompanies Mike in his journey to find his mother. Still faithful in spite of the many setbacks that come their way, from Idaho to Italy, Scott remains by Mike’s side. The trip to Italy seems hopeful, leading the audience, including myself, to think that this finally the resolution and happiness that Mike deserves. After all that he has been through, one cannot help but root for Mike—played exceptionally by River Phoenix with his sensitivity and vulnerability in spite of the firm exterior he seems to put up.

Once they arrive in Italy, however, the two are greeted with the news that Mike’s mother had gone back home to the United States. With the audience thinking that the trip was all for naught, Scott eventually finds something that he wasn’t looking for. While watching this part, I had pathetically asked the question: what did Mike do to deserve these things in life? As a viewer, it is difficult not to pity Mike with all the situations he has encountered just to meet his mother once again, and find the peace that he is looking for. In this trip to Italy, we see that nothing is actually resolved; rather, Gus Van Sant puts us through another round in this emotional rollercoaster of heightened conflict. Scott falls in love with Italian native Carmella who Mike’s mother had taught English to during her stay in the farm. Rooting for Mike’s happiness and joy, I could not help but feel frustrated with the constant dejection lifes throws at him. At the height of the film, everything that I had been looking forward to at this point, falls apart when Scott hastily makes the decision of going back to America with his lover—leaving Mike to fend for himself in a foreign country with a little cash. To add to that, he barely spoke the language. At this moment, I cannot begin to comprehend the heartbreak and betrayal that Mike must have felt, seeing the car drive away with Scott and Carmella barely sparing him a second glance.Back in America, Mike has spiralled into despair and loneliness—a common theme seen throughout the movie. This is even more so highlighted in the scene wherein Scott simply drives by at the backseat of a limousine, despite seeing Mike in a deep sleep along the side of a road in the city. Scott had turned his back to the life of street hustling after the death of his father. Once he had received his inheritance, it was as if Scott did a complete one-eighty by suddenly getting his life together, with a pretty trophy girl by his side as he attended social gatherings. In this complete makeover, along with the funeral of his two fathers—Bob Pigeon and biological father Jack Favor—he had buried with them the life of male prostitution that he had lived during his youth. Now that was 21, it was time to say good bye to such lifestyle once and for all—completely forgetting and laying to rest the relationships he had built along the way quite remorsefully. As for Mike, life simply continued without remorse for him. This time around, however, there is no Scott Favor to look out for him as strangers rob him while in a deep sleep, and an unidentified individual picks him up in the middle of the road—much identical to the film’s opening sequence.