Tag Archives: Midnight in Paris

Amour – all’s well that ends well together

All you need is love: Jean-Louis Trintignant and Emmanuelle Riva

You could hear a pin drop during the opening credits of Michael Haneke’s Amour. Deafening silence echoes around the cinema as white titles on pitch black fade by one by one. Those familiar with Haneke’s work are afraid to breathe, as much out of reverence for the Austrian master as out of fear for one of his trademark shocking, violent turns. With a huge bang, the only one in the film, Amour bursts out of the credits. There are few more surprises in the film, but emotions that leave momentary surprise paling in comparison run rampant throughout it. It is deeply affecting, but mercilessly painful viewing.

Amour tells the story of a French couple in their 80s, Georges and Anne, who have managed to stay deeply in love over the years. Both retired music teachers, we see them delightedly attend a piano recital performed by a former protégée of Anne’s – it is the last time we will ever see either of them outside their plush apartment home. Shortly after the concert, Anne suffers a stroke, and is paralysed down the right-hand side of her body. Devoted Georges does everything he can to keep both their spirits up, as well as maintain some quality of life, but as Anne deteriorates, so does Georges’s outlook. The couple’s largely absent daughter can’t process any of it, and selfishly feels like she is the victim. Anne’s protégée, now hitting classical music stardom, reels at the sight of his mentor confined to a wheelchair.

Haneke, the director of more than his fair share of masterpieces (Funny Games, Caché, The White Ribbon and more), has taken some brilliant directorial decisions here. Setting almost the entire film within the couple’s apartment, he demonstrates the isolation of Georges’s mourning and also Anne’s sensation of being trapped, first in her chair, then in her bed, then in her own body. Casting is also remarkably telling; Haneke has cast as his leads two stars of some of French cinema’s greatest love stories. Anne is played by Emmanuelle Riva, who in 1959 played Elle in Alain Resnais’s remarkable romantic movie Hiroshima, Mon Amour. As Georges, Jean-Louis Trintignant could still be playing that same lovesick character from Claude Lelouch’s A Man and a Woman (1966). Together, these romantic players form a remarkable onscreen bond, and it’s impossible to imagine they have not loved one another all their lives.

There is no way to accurately describe how remarkable Riva and Trintignant’s performances are. Riva’s physical performance, and the fading energy in her facial expressions, are all too true to life. Trintignant captures the exhaustion of hopeless optimism with remarkable subtlety, yet when he snaps we know just why and can excuse it.

With no music on the soundtrack except that which the couple listen to or perform, Haneke frames this tragedy with almost documentary realism. The smooth camerawork of Iranian cinematographer Darius Khondji (Delicatessen, Se7en, Midnight in Paris) sails through the corridors of the apartment, keeping all the elements in frame and in focus throughout. Colours from a variety of sources contrast brilliantly with the shiny brown of the wood-panelled walls. Close-ups of the two leads reveal every last wrinkle, each an individual tragedy that combine to make this tale of the end of life and love what it is.

There are small moments of relief from the sadness, some humorous, some disturbing. After her stroke, the only non-morbid interaction Georges has is with a wayward pigeon that invades their apartment. Georges’s hobbling after the bird is the most alive we see him, but his struggle to defenestrate it reveals he too is not long for this world.

In the film’s most moving scene, Georges calms Anne, in the throes of a screaming fit, by telling her a simple story from his childhood he had somehow never told her in all their years together. The scene is the heart of this movie; no matter how long love lasts, no matter how strong, it is never complete. There will always be loose ends and regrets, but as Georges finds you cannot stop loving until the bitter end, even when hope is gone.

Haneke has made an exceptional film that anyone who has ever loved can relate to. It is a bonus that it is so majestically acted, and that it looks so well – or what little of it you can see behind your tear-blotted eyes does, at least.

5/5

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Looper – Past and Future Intense

Joseph Gordon-Love-It

We are long overdue a great time travel adventure. Sure, we’ve had dramas such as Midnight in Paris and mind-bending thrillers such as Primer, but there hasn’t been a proper edge-of-your-seat time travel movie since 12 Monkeys, nor a fun one since the Back to the Future trilogy.

Thank goodness for Looper. Clever without being baffling, fun without being silly, Rian Johnson’s film balances its own mythology with a pulp thriller story that feels simultaneously classical and entirely new. Johnson, the writer/director of cult high school noir Brick and the seen-by-few (and liked by fewer) The Brothers Bloom, is a film fan’s filmmaker, a man who has imbibed the Hollywood genre greats, and who now pours those ideas through the blender of his brain and creates some fascinating, if hitherto not entirely successful chimaeras. Looper’s influences are evident and many, and surprisingly none of them are films about time travel.

Starting off 30 years from now in Kansas City, Looper is set in an America wracked with colossal rates of unemployment and homelessness, but where the well-to-do dress like guest stars on Mad Men. A comment on the trajectory of modern America, sure, but that’s where the social commentary ends. Another 30 years down the road, in 2072, time travel technology has been developed, but only for use by the wealthiest and most duplicitous of people. Rather than risk a Back to the Future-style paradox, the global mob of 2072 uses time travel for the sole purpose of disposing of corpses – easily tracked in the future, easily gotten rid of in the past.

In 2042, mob goons called loopers are assigned the task of gunning down newly materialised mob targets the moment they appear from 2072. It’s good work if you can get it, but it comes at a high price. Looper Joe (Joseph Gordon-Levitt) is happy with his lot; splashing his cash on cars, drugs and a prostitute with a heart of gold. But things get thrown for a loop for him (sorry) when his latest target is revealed to be himself, 30-years-older, and now looking like Bruce Willis. Willis knocks his young self out and goes on the run, set on a mission to alter the future, while Gordon-Levitt must track down his older, wilier self while evading his own bosses at looper HQ, who can instantly take out the elusive Willis by killing Gordon-Levitt, thereby erasing Willis from the timeline.

Stop the clock

Ostensibly a chase movie through a neo noir future, Looper keeps its story energised by keeping the time travel repercussions as simple as possible. As long as Willis is still there, he knows Gordon-Levitt will grow up to be him. As Gordon-Levitt acquires fresh cuts and injuries, Willis develops brand new, decades-old scars.

Looper is as smart in its dialogue as it is in its ideas. Gordon-Levitt and Willis spar over their shared memories in the film’s most cleverly crafted scene. Looper boss Abe (a delightfully sneering Jeff Daniels) chastises his young employees for dressing in suits and ties, an out-dated fashion now brought back by the Mod-like gangsters – fashion has a cyclical nature, underscoring the film’s central theme. Language, too, has come full circle; the word “blunderbuss” has been uprooted from the history books to refer to the loopers’ heavy-duty shotguns.

Johnson’s team have crafted a terrific thriller here, with crisp, bright imagery and coherent editing. The score hums and clicks with electronic, industrial sounds overlaying traditional instruments. Gordon-Levitt, belatedly (by a decade) the in-demand actor of the hour, is tough yet endearing in the lead role, and the fine makeup that makes him a believable antecedent to Bruce Willis (most notably wearing Willis’s curling nose) never distracts from his performance. Willis plays the weary, broken-hearted avenger he’s based the last decade of his career on with expected fluency. Only Johnson regular Noah Segan disappoints, in the underdeveloped role of token villain Kid Blue.

The film’s seemingly boundless energy comes to a crashing halt in the third act as Willis heads off on his mission and Gordon-Levitt hides out at the rural home of Emily Blunt’s suspicious Sara. The rhythm of the film goes all to hell for nearly 20 minutes, and the temptation to, like the characters in the movie, repeatedly glimpse at your watch is hard to resist. But this is all forgiven in a shocking, brilliantly conceived final quarter hour, that is as exciting as it is philosophical.

Face-Off: Willis and Gordon-Levitt feel the Heat

Aside from that late lull, the film’s most troubling aspect is its narration, lazily used to explain its mythology and technology, and it’s left unclear from where or when (or on what timeline) Gordon-Levitt is narrating. But Looper succeeds in making its world easily accessible, and more impressively manages to make its two anti-heroes – one a junkie out to kill his future self, the other so hell-bent on vengeance he will stop at nothing to do what he insists is right – likeable and worthy of our attention.

With echoes to films as eclectic as Witness and Akira and with a finale drawing on the magnificent climax of the supposedly inimitable Russian classic Come and See, Looper is a minor triumph of genre-bending entertainment.

4/5

(originally published at http://www.filmireland.net)

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2011 in review – Style, meet Substance. Substance, Style.

Now, perhaps I’m just misjudging the subtext of what I’ve read in the blogo/Twitter-sphere, but I get the impression that there is consensus that 2011 was a particularly fine year for cinema. There were definitely a lot of great films released, and compiling the list below was not easy, but was it a particularly great year?

It was certainly a standout year for American (and English-language) cinema. With some exceptions, blockbusters were smarter and tighter, and even where they failed (Rise of the Planet of the Apes) they still had ambition. Source Code led the charge for a new wave of intelligent sci-fi thrillers. Bridesmaids and 50/50 showed that American comedies could have as much heart as they had bodily fluids. Drive proved enough flair on a filmmaker’s behalf could erase any need for strong dialogue or acting – yet that film brought some great lines and fine performances nonetheless. At Cannes, The Tree of Life conquered, and around the world audiences were left mesmerised and/or walked out of the cinema.

The build-up to 2012’s The Avengers continued with two enjoyable tongue-in-cheek superhero adventures, Thor and Captain America: The First Avenger; the success of both suggested the heroic team’s first outing will be one of the biggest films of this year. If rivals DC and Warner Bros wish to meet the Avengers threat head-on with a Justice League film, the critically mauled Green Lantern and a trailer for 2012’s The Dark Knight Rises should ensure that no one wants to see a JL film without Christopher Nolan at the helm any time soon.

After a terrific year in 2010, children’s films hit a hurdle – only one children’s film cracked my top 20, and it was released in the US in 2010. Martin Scorsese’s beautiful but shamefully overlong Hugo deserves applause however, even if it did prove once and for all (to me at least) that 3D cannot be mastered even by the most talented of filmmakers. Nostalgic methadone The Muppets and the enjoyable Kung Fu Panda 2 (which featured superb sequences of traditional hand-drawn animation) also narrowly missed my list.

As for documentaries… well, for work-related reasons I saw more docs last year than any year previous. Unfortunately many of them are so obscure that there is no point in listing them here. But suffice to say it was a strong year for documentary from around the world, even if the interesting but unambitious Inside Job won most of the acclaim this year. Docs like Senna and Page One: Inside the New York Times told their stories with far more flair.

A few notes on the list. Traditionally I have stuck with what was released in Ireland during each individual year, meaning that some of the previous year’s late releases (especially the Oscar push) end up on the subsequent year’s list – there’s never been a way of avoiding that. To add to the confusion now, I spent almost half of 2011 living in the United States, so this list may see some films released in late 2010 in the US but early 2011 in Ireland, while others will have yet to arrive in Irish cinemas yet.

It’s fair to say I didn’t see as many new films in 2011 as I might have liked (so few bad ones indeed, that I do not have enough to fill a “worst of 2011” list), but I did see a huge number of films this year. On the big screen, just some of the classics I saw include: Walkabout, The Driver, Paisan, Pickpocket, Network, The Wages of Fear, Quai des Brumes, The Life and Death of Colonel Blimp (a restoration presented in person by Scorsese and Thelma Schoonmaker), Bridge on the River Kwai, Who Framed Roger Rabbit, Orpheus, The Warriors and The Big Lebowski. Most of these were made available to me during a three-month internship I undertook at the Museum of Modern Art in New York, a position I could talk endlessly about, but will not concern you with here.

That didn’t leave much room for new films, and amongst those I missed that I suspect may have challenged the films on this list are: Paul, The Beaver, Warrior, Moneyball, Take Shelter, My Week With Marilyn, Tyrannosaur, Fincher’s The Girl With the Dragon Tattoo, The Skin I Live In, War Horse and The Adventures of Tintin.

Honourable mentions for films that I saw but barely missed out on the list are: Hugo, The Guard, The Muppets, Attack the Block, Senna, Harry Potter and the Deathly Hallows – Part 2, Bridesmaids, The Inbetweeners Movie, Cave of Forgotten Dreams and Super 8.

Now, enough stalling… shall we?

20. The King’s Speech

The eventual reigning champion at last year’s Oscars, this was a beautifully produced and (for the most part) strongly acted account of the troubles faced by the young King George VI. A powerful and memorable ending casts a positive light on an otherwise largely forgettable flm; but damn, what an ending it is.

19. Troll Hunter

One of 2011’s most unexpected delights, this “found-footage” comedy/horror used the bizarre natural landscape of Norway as the perfect paradise for surprisingly realistic CGI trolls on a budget. An outrageously straight performance by Norwegian comic Otto Jespersen as the government-sponsored hunter of the title and surprisingly effective pseudo-science about troll biology made this film a sometimes scary but consistently hilarious outing – Man Bites Dog meets Rare Exports. “TROOOOOOOOOLL!” may have been the funniest delivery of a single word last year.

18. Tangled

Disney finally put a CG challenge to their successful underlings Pixar with this gorgeous retelling of the Rapunzel tale. Colourful, enchanting, witty and light, the film was only let down by standard music numbers and a fairytale parody feel all-too familiar from the Shrek films. A superb villain, a playful chameleon and an indestructible horse were all highlights, but the film’s greatest feat is the animation in Rapunzel’s seemingly endless waves of golden hair.

 17. Mission: Impossible – Ghost Protocol

M:I4 came out at the end of a year which had featured some strong blockbusters but had been for the most part low on action (Transformers: Dark of the Moon notwithstanding). But Ghost Protocol made up for that. Beginning with a simple prison breakout, Ethan Hunt and his team go on to infiltrate the Kremlim, abseil the world’s tallest building and embark on a chase through a sandstorm where every grain can be heard whistling violently by the camera. The story was light spy fare, but the commitment by actors and filmmakers on show were as awe-inspiring as the stunts they pulled off for the camera.

16. The Descendants

Alexander Payne’s latest is a powerful family drama. George Clooney is impressive as a lawyer nigh-widowed when his wife is left in a vegetative state after a boating accident. Trying to hold his family together, he must also deal with a sale of his family’s massive estate on which many relatives are relying. Hawaii has never looked so naturally beautiful and also hideously metropolitan as it does here. The music is wonderfully chosen from local sources, and Shailene Woodley gives one of the year’s best performances as the distraught and destructive older daughter. However, the film’s tiresome insistence on ending every dramatic scene with a punchline keeps it from being one of the greatest of recent American dramas.

15. True Grit

The Coens went west again with this adaptation of Charles Portis’s book, while still undeniably owing credit to the John Wayne-starring original. With two terrific performances at its centre by Jeff Bridges and Hailee Steinfeld and stunning golden-brown cinematography, this was a notable entry in the Coens’ canon. Expectedly wacky minor characters and some thrilling and tense shoot-outs added to the fun.

14. Pina

An incredible documentary and the finest live-action 3D film yet produced (although still far from faultless in terms of that technology), Pina is a work of love in memory of the late choreographer Pina Bausch. Wim Wenders controls the cameras but he allows Pina’s choreography to direct the film, as her company, each member an instrument of their master, performs sensational modern dance pieces. The energy and beauty of the dances are on full display, as four massive ensemble pieces are intercut with brief personal performances by each of the dancers. For the most part the 3D recreates the depth of viewing dance in theatre while allowing the viewer to feel the power and intensity of each performance more intimately. The film has emerged from a tragedy (Pina’s sudden death just before filming began) to become a testament to one woman’s remarkable legacy.

 13. Poetry

South Korean star Yoon Jeong-hee emerged from retirement to star in this superb, harrowing drama about an ailing grandmother forced to raise money for a legal settlement after her grandson is implicated in the suicide of a teenaged girl. Unexpectedly powerful and heartfelt, Poetry is carried by Jeong-hee’s sensational performance as she tries to find the will, energy and love to do whatever it takes to save her grandson from prison.

12. Tinker Tailor Soldier Spy

This superbly shot, atmospheric spy thriller was one of the year’s most audience-dividing films, but few could doubt its style and the acting strength of its terrific ensemble cast. Despite some pacing troubles caused by adapting an extremely meaty book, Tomas Alfredson latest film maintained tension and intrigue from start to finish, while injecting some superb character drama into proceedings. Old-school storytelling meets modern filmmaking precision.

11. Kill List

The only film on this list that I can openly say I do not know if I wish to see it ever again. This genre-shifting oddity – part thriller, part horror, part kitchen sink drama – came out of nowhere this year; a low-budget Yorkshire production. With frenzied performances and horrific but effective storytelling, editing and imagery, this unforgettable beast manages to terrorise its audience but unlike most modern horrors actually has a genuine story. Family, friendship and the damage rage can do to them are the subjects at this film’s core. Unmissable – if your stomach can handle that sort of thing.

10. We Need to Talk About Kevin

It may have suffered from budgeting problems but this drama, about a mother who cannot love her son, is crafted by truly expert hands. Lynne Ramsay directs the irreproachable Tilda Swinton as the troubled mother – uncertain if her child is evil or, worse, if her fearing that is making him so. A wonderful mesh of flashbacks weave together a devastating story, told with wonderful plays of lighting and editing. Swinton gives perhaps the greatest performance of her career to date, while co-stars John C. Reilly and Ezra Miller offer strong support.

 9. Midnight in Paris

Woody Allen’s latest comeback is his best film in decades. Owen Wilson fills Allen’s acting shoes with aplomb as a writer nostalgic for an era he has never known – Paris in the ’20s. When, escaping his passionless fiancée, he inadvertently finds himself time-travelling to that age, he finds inspiration from his idols and, unexpectedly, a truer love in the form of Pablo Picasso’s mistress (Marion Cotillard). Beautifully shot, cunningly scripted and with a soundtrack to warm the heart, the film is elevated further by a series of charming cameos; most notably Adrien Brody, hamming it up magnificently as Salvador Dalí.

8. Black Swan

Darren Aronofsky’s film about obsession on the ballet stage combines the wildness of Powell and Pressburger with the psychological and body horror of David Cronenberg. Anchored by an incredible performance from Natalie Portman, this is a stylish, sexualised psychological thriller about a mental breakdown spurred on by determination to be the best. Ominous production design and chaotic editing kept the audience as confused and terrified as its lead character.

 7. Shame

Following his sensational breakthrough Hunger, director Steve McQueen’s second film is a tragic and overwhelmingly honest portrayal of a sex addict. The year’s biggest surprise star, Michael Fassbender, gives a disturbing but spellbinding performance in the lead role as a man obsessed with his own need. Carrie Mulligan gives a fine performance as his sister, the only person who stands a hope of getting through to him in his self-destructive cocoon, but who has her own problems to deal with. Shot with the director’s now signature style of long takes and anchored cameras, Shame gets you inside the head of a man you were happier only knowing the exterior of. A gripping, sorrowful, shameless movie.

 6. A Separation

As human as any drama could hope to be, this Iranian feature tells the story of a couple as they prepare to divorce, and the effect it has on their teenaged daughter. When an accident implicates the husband in a terrible crime, the familial bonds are tested to their limit. A Separation is an incredible, original-feeling story, in which every shot is sensitively composed, and the actors play out the drama with more conviction than most filmmakers could dream of finding. An unexpected gem of Iranian cinema.

5. Drive

Taking its cue from Walter Hill’s existential car chase classic The Driver, untameable Danish filmmaker Nicolas Winding Refn made his American debut with more class and style than most of Hollywood’s heavy-hitters could hope to conjure in an entire career. Shot so slickly the screen appears to ooze light and colour (and later, blood), and with a soundtrack that can only be described as “awesome”, Drive took the whole world by storm and topped countless best of lists in 2011. Ryan Gosling plays the largely silent lead role calm and cool, but the film is stolen by the enigmatic Albert Brooks as a business-savvy mafia boss who takes no prisoners.

4. Melancholia

Perhaps Lars von Trier’s finest film to date, this drama of personal agony/apocalyptic sci-fi nightmare was one of the most hotly debated films last year. It tells the story of a young woman’s lapse into a destructive depression as the very literal metaphor of the planet Melancholia begins a collision course with Earth. As our heroine, Kirsten Dunst reveals herself a remarkable actress of hitherto unexplored talents. However, several of the film’s other performances – especially those of Charlotte Gainsbourg, Charlotte Rampling and Kiefer Sutherland – deserve outstanding praise also. The film’s overture, a stunning sequence of painterly foreshadowings, and its conclusion in an orgy of emotion, light and music, make it a truly remarkable piece of filmmaking from an endlessly challenging filmmaker.

3. 13 Assassins

One of the year’s most over-looked films, 13 Assassins echoes the greatness of Seven Samurai while creating a grittier, more violent and altogether more carefree film. Takashi Miike builds the drama over the course of an hour, setting his band of samurai against an army of warriors and their utterly despicable master. When the tension finally gives way, one of the most remarkably orchestrated battle scenes in recent memory erupts in a flurry of swords, severed limbs and flaming cattle. The film’s realistic look and soundscape allow for a perverse weirdness to seep through, which provides a truly breathtaking entertainment.

2. The Tree of Life

A surprise victor at Cannes in 2011, Terrence Malick’s latest is a glorious thing to behold. The story of a Texas family is told in flashes of light and memory, accompanied by angelic music and bolstered by outstanding acting by Brad Pitt, Jessica Chastain and Hunter McCracken. Through imagery of the dawn of time and the rise and demise of the dinosaurs Malick demonstrates the true reality of life; the lord giveth and the lord taketh away. Composed of one eye-shatteringly gorgeous image after the other, The Tree of Life simply has no equal in terms of skill in filmmaking. Only a misused Sean Penn and a clichéd (though beautiful) coda could be said to make this film anything less than a masterpiece.

1. The Artist

The filmmaker/actor partnership behind a pair of slight but playful French spy spoofs unexpectedly burst onto the global stage in a flurry of unbridled joy in 2011. The Artist, a silent tale of silent movies and the silent men and women behind them, is not just a throwback to the classics of old Hollywood, but is a touching, timely drama about obsoleteness and getting back on your feet. More importantly, it is a delightful, playful and utterly charming comedy that takes the visual medium to a place it hasn’t gone with such panache in over 80 years. Michel Hazanavicius directs like a silent-era pro, as if he were one of the European émigrés who built early Hollywood arriving a little too late to the party. In the lead role of former silent star George Valentin, Jean Dujardin is electric; every muscle in his body goes into his dazzling performance, his face does more work than most actors do with their entire beings. As his young muse, Bérénice Bejo provides a perfect mirror of physical support, while Valentin’s remarkable pet dog (also his co-star) steals many scenes without bending a whisker. As much homage as it is a work of sheer class in and of itself, The Artist is a joy-filled crowd-pleaser which also toys with the medium with some remarkable, truly satisfying results.

That's all folks!

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Dalí Without Delay

Two word review: Just lovely

Woody Allen’s Midnight in Paris has given us a lot. It’s given us Owen Wilson at his best, and shown him to be a superb vessel for Allen’s undying spirit to work through. It’s given us Marion Cotillard at her most beautiful and charming, and proven the First Lady of France can act. But more than anything else it’s given us Adrien Brody playing Salvador Dalí.

Find me the filmgoer who enjoyed a scene in this wonderful movie more than Brody’s outrageous cameo and I’ll show you a liar, a madman or a fool.

Can't say fairer than that

Brody’s scenery-inhaling performance totally eclipsed his fellow actors, portraying Luis Buñuel and Man Ray, and practically pushed Wilson, the film’s star, out of the frame. With larger-than-life bombast, Brody’s (and Allen’s) tribute to the sublime surrealist brings us to one obvious (and yet somehow thus far ignored) conclusion: the world is ready for a Dalí biopic starring Adrien Brody.

Now imagine it moving

And what a biopic that would be. Dalí’s life is full of fascinating contradictions: his surrealist leanings clashed time and again with his Catholic heritage; he struggled with his national identity as a Spaniard during the Franco era while travelling the world as an icon of the modern art world; his work varied from the avant-garde to the surprisingly commercial.

Add to that a tale of a strong (and lasting) love affair with Gala Dalí, potential for magnificent special effects incorporating his artworks and even a snapshot of movements in film history (and who in Hollywood does not love films about film history?!).

If restaging sequences from his terrifying and controversial works with Buñuel, L’Age d’Or or Un Chien Andalou, doesn’t interest you, just look at what he did in Hollywood working with the likes of Hitchcock and Disney:

The horrific…

…and the sublime.

And that’s not to mention his interactions with Andy Warhol (another figure of the 20th Century art scene who cinema has struggled to capture) – this anecdote tells how not even the legendary pop artist could not control the surrealist superstar (then in his 60s).

And what about Brody? Do you fear he could not pull off a feature of this nature? His acting chops have been proven in The Thin Red Line and The Pianist – the latter for which he remains the youngest-ever recipient of the Best Actor Oscar. And the same physical silliness he displayed in Midnight in Paris sustained him for the duration of The Darjeeling Limited, a film he mercilessly stole (again, curiously, from Owen Wilson).

So look at it this way, and I’m talking now to those people with money and not enough ideas in Hollywood: you have the story, and you have the star (and proof he can play the role). What more do you need?

I hope my readers will join me now in demanding Dalí without delay. Who’s with me?

... he would be.

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