Displaying items by tag: Felicity Jones

TRAIN DREAMS

US, 2025, 102 minutes, Colour.

Joel Edgerton, Felicity Jones, William H.Macy, Clifton Collins Jr, Alfred Hsing, Paul Schneider, Nathanial Arcand, John Diehl. Narrated by Will Patton.

Directed by Clint Bentley.

Here is an impressive piece of Americana. It is based on an award-winning novella of the same name by Dennis Johnson, 2011. It has been written and directed by Clint Bentley, with his collaborator, Greg Kweder, who were Oscar-nominated for the screenplay for the recent Sing Sing.

This is a film about a very ordinary American, Robert Granier, birth to death, from the 1880s to the 1960s, an extraordinary span of change. In most ways, Robert Granier could be considered to have lived what might be called “an unremarkable life”. As a boy, not knowing who his parents were, sent to live in a small town, accepted, growing up there, ordinary jobs around the town, the years passing, nothing particularly much happening.

By the time he is 30, he is working as a logger, chopping the trees, sawing them, out on locations, the railways, laying tracks, building bridges, but just one of the group of similar men, most rather introspective, the silent types, dedicated to their work.

Robert Granier is played by Australian Joel Edgerton, a fine performance, and because of his not being conversational, the film has a frequent voice-over, by actor Will Patton, who is able to articulate what the quiet Robert cannot: his ordinary life and work, encounters with his fellow workers, surprise at the prejudice against the Chinese and shock when the workers throw one of the Chinese over a bridge, later feeling guilt about this occasion, and, on a return home, encountering Gladys, Felicity Jones, at church, she initiating the friendship which leads to marriage, the building of a house, the birth of their daughter, joy for them both, but a surprising joy for Robert.

The film moves at a measured pace, offering the audience a lot of time for reflection, opportunities for a ruminative response, even offering moments that could lead to meditation on life and its meaning. And, there are the dreams, Robert’s happy dreams, after a destructive fire unhappy dreams and hauntings.

Out in the forests, there are some interesting characters, especially William H Macy as Arn, an explosives expert, friendly, chatty, a sad death but an influence on Robert.

There is some hope for Robert later in his life, an encounter with a nurse from World War I, Kerry Condon, who is billeted at one of those towers built to observe and prepare for wildfires. And, finally, after living in his house without any amenities for so many decades, he ventures into the city, the 1960s, space exploration – and the offer of a ride in a small plane, to see the world from a bird’s point of view, but an exhilarating experience which brings back, visually on the screen for the audience, his images and memories, the people who were influential in his life, reminding him and us of his unremarkable but humanely ordinary life.

1. Popularity and awards of the original novella? The adaptation close to the spirit of the novella?
2. A piece of Americana, in the 19^th century into the 20^th, into the 1960s? From birth to death? A life lived, well-lived? The transition from the 1880s to the 1960s, the title and the symbolism of the railroads, branching out, travelling communication and, at the same time, the destruction of forests, the laying of tracks, building bridges? The train dreams of the development of the United States?
3. The photography, the forests, the railroads? The trees, the loggers work? The house and building it, the interiors? The various camps? The visits to the town? The photography of the fire? Going to the lookout? The later visits in the 20^th century? The atmospheric and meditative score?
4. The use of the narration, the tone of the voice-over, the voice-over important because of the silence of Robert?
5. The range of dreams, Robert’s imagination, subconscious surfacing, happy memories, nightmare memories, imaginative fantasies about his wife and daughter?
6. Robert’s story, from the 1880s to the 1960s? His background, scenes as a boy, no knowledge of his parents, living in the town, growing up? A silent boy, introverted? Growing up, work, moving to logging, the logging community, the experience of prejudice against the Chinese, the man thrown over the bridge, the effect on Robert and his consciousness, conscience? Going to church, Gladys and her approach, their keeping company, her saying it was a marriage and they need a ceremony to ratify it, life together, the birth of the baby, the joy of the baby, the details of life at home? His coming home in the happy reunions?
7. The details of Robert’s life, seemingly unremarkable but ordinary, his quiet, reflections? The friendships amongst the loggers? The preacher and his story, the pursuer arriving and shooting him? African-American? Arn, his age, explosives expert, the failure, success, his friendship with Robert, the conversations, the tree hitting him, affecting his mind, his death, the burial and the words?
8. Returning home, the train rides, the fire, its intensity, the burning of the house? Robert returning, loss, grief?
9. Robert, at home, gradual rebuilding, life alone, the years passing? The encounter with Billy, getting old, his loss of memory, thinking Arn was still alive? And Robert getting older?
10. His work, the carriage and horses, carrying the goods? His quiet life, the encounter with a large bear? The dogs becoming part of his life?
11. Clare, giving her the lift, her job, nurse during the war, the death of her husband? Friendship, conversation, shared wisdom? Her work, the tower, and the view from the tower?
12. The years passing, Robert’s simple life, none of the amenities and technical developments of the 20^th century? The decision to go to Spokane, the 1960s, space exploration, the man calling out to take him into the air, the realm of the birds? His going on the flight, the experience, some transcendence in his life?
13. In the flight, the opportunity for the images of his life to recur, the range of people in his life, the sadness and happiness in his unremarkable life? And his death?

THE BRUTALIST

US, 2024, 215 minutes, Colour.

Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Raffey Cassidy, Stacy Martin, Isaach de Bakole, Alessandro Nivola, Michael Epp, Emma Laird, Jonathan Hyde, Peter Polycarpou.

Directed by Brady Corbet.

The Brutalist is a vast film in scope and length. Beginning with an Overture, it becomes cinematic orchestral and in its two acts and epilogue cinematic operatic.

The screenplay is by former child actor, Brady Corbett, who directed Childhood of a Leader, Fox Looks, working with his partner, Mona. The scope of the storytelling is quite complex. It is multi-themed, beginning with Nazi persecution of the Jews, business close-up in the oppressive dark, concentration camp consequences. It then moves to re-settlement in the US and good use of the Statue of Liberty, Ellis Island, speeches and translations, then out into the vastness of America, a brother. In New York, then a train to Philadelphia.

Throughout the film there is a documentary evidence, radio news commentaries, about the significance of Pennsylvania in the history of the US.

The central character, Laszlo, is an architectural genius, and in prewar Germany, found unacceptable to national socialism, interned, along with his wife and niece. For most of the film, there is voice-over of letters from his wife, still in Europe.

This is the post-war USA, American business, migrants making good, shrewd businessman with no family backgrounds highly successful.

This is the story of Laszlo’s rise, not without its many pitfalls and falls. At first working with his cousin, Alessandra Mueller, participating in the commission from the son of a millionaire, Harry Van Buren is in (Joe all one) elevate his father, Harrison Van Buren’s personal library. Progress is made, Laszlo’s skill in design, his fine eye for detail, his modern furniture style, making a great impact until suddenly, Harrison bursts angrily onto the scene and dismisses everyone. Harrison is played by guy Pearce most convincingly.

But the central performances that of Adrien Brody (who won an Oscar for the pianist in 2002). He is sympathetic, sometimes upsetting, many outbursts, a growing sense of his own worth, his reaction to being challenged.

The film echoes the American confidence of the 1950s, progress and peace, buildings and achievement, the plans for building Harrison Van Buren’s community Centre in honour of his mother. There is the exhilaration of the design, very modern, the meeting of city officials, the inevitable as with material supply, budget overruns, interference from bureaucratic advisers, outbursts. And accidents, possibilities for being sued, compensation, he is in delay.

Unexpected is a sequence when Laszlo and Harrison go to Carrara to choose marble from the quarries there amazing visuals of the cliffs and quarries. But there is a key episode in Carrara that has something of a devastating effect on Laszlo and will offer a challenge to Harrison.

And, finally his wife, Felicity Jones, arise from Europe, wheelchair written, with the taciturn niece. And further complications with the Van Buren family, and with the niece and her fiance deciding to go to live in Jerusalem.

The film begins with an overture good end with an epilogue – and The Brutalist does, are vindication of Laszlo’s career and achievement, exhibition at Venice be a gnarly, and a tribute to Laszlo by his niece.

Often grim, sometimes overwhelming, moments of joy, and a perspective on American history in the post-World War II years.

1. Title and tone? Contemporary art and architecture? Personalities in themselves and their communication?
2. The scope of the film, orchestral and operatic, overture, acts and epilogue? The sound, the music, chords, heavy, light background? The visuals, the use of this division and its style? Editing and pace? The vastness of the impact?
3. The structure, the effect of the overture, setting the tone, from the concentration camps, the crowds, the darkness, the suffering, the release, the focus on Laszlo, the communication with Erzsbert? The freedom, the voyage, the Statue of Liberty and the various angles? Freedom and future?
4. The first part, from 1957 to the early 1950s? Migrants arriving, Ellis Island, the speeches and translations? Into the city – the glimpse of the women, the brothels, Laszlo and his friend? This impact after the years in the camps?
5. To Philadelphia, the train, the meeting with Attila, the welcome, change of name, his store and furniture, marriage to Audrey, Catholic? Their work and reputation, Laszlo criticising the furniture? But his working, his modern designs, Harry Van Buren and, the visit, the commission, the library, the background story, the father and his devotion to his mother, her illness? The surprise?
6. Gradual information about Laszlo, his studies in Germany, his skills, designs, Jewish background, Nazis and concentration camp? His skill in design, creative, demanding? The vision for the library, the visuals, the space, the cupboards opening, the shelves, the issue of the ceiling, its crashing? Harrison Van Buren arriving, the viciousness of his outburst, the dismissal? Laszlo and his reaction, the false accusation by Audrey, being ousted?
7. Laszlo, shovelling coal, the previous encounter with Gordon and his son, Laszlo going to the queue for the bread, their working together? Laszlo and his personality, accepting his fate? The continued communication with Erzsbert?
8. The arrival of Harrison Van Buren, his apology, researching Laszlo’s background, their discussions, the repayment, the possibilities for the future? The further conversations, Harry and his vision, as a tribute to his mother, the details of his background story, single mother, rejection by her parents, their later coming for money, his interviewing, withdrawing the $25,000, giving them 500? His mother’s death? His folio of photos of Laszlo’s work in Germany? The discussion about Laszlo’s past? The discussions about building the centre, the gathering of people and Mayor to present the project?
9. The focus of the film on the building of the project, the long years, the plans, the materials, Laszlo and his explanations of the structure, shapes, worship, the role of the Cross, the sunlight? The happy progress, Gordon and his work? The encounter with Leslie, they working together, ups and downs?
10. The financial difficulties, the time, Leslie and the consultant, Laszlo and his impatience, insulting, Harry and his mediating? The visit to Carrara, the marbles, Laszlo’s friend, the choice of the material, the celebration of the night, the drinking, the strange encounter, Harrison and his behaviour, talk, Laszlo his vulnerability, audience reaction to what they saw, what they thought they were seeing? The aftermath?
11. The train derailment, the lawsuits, the financial difficulties, Laszlo offering his payment of the building to continue?
12. Erzsbert, with their niece, the opening of the film and the interrogation of the niece, her growing up, mute, Erzsbert and her being confined to the wheelchair? Pain, the issue of drugs, Laszlo and his use of drugs for his broken nose and pain, dependence on Gordon?
13. Erzsbert, in herself, the meals with Harrison and his family, journalist training, Harrison getting the job, some financial independence? The tentative relationship with Laszlo, the gradual change in Laszlo, the communication and love? Her pain, the drugs, her collapse, hospital?
14. The niece, quiet, Harry Van Buren, his complaint, the incident with the niece, swimming, out into the woods, his return, behaviour? The effect on the niece? Her later fiance, the meal and discussion, going to Jerusalem?
15. Erzsbert, her going into the meal, her denunciation of Harrison and the rape? Harry and his defence? Margaret and her care for Erzsbert? Harrison and his retreat into the building, the search throughout the building and tunnels, his death?
16. The epilogue, Venice and its beauty, the biennial, the catalogue, the visuals of Laszlo’s architectural achievements, in the wheelchair, his age, the emotion of his niece’s speech, his response? His achievement?
17. Part of American history, post-World War II, the migrants, the Jews, prejudice and racism, finance, exploitation, achievements? The focus on Pennsylvania and its achievement and history? The final impact for the audience and being immersed in this world and experiencing the characters, likes, dislikes, difficulties, challenges?