Showing posts with label Clint Eastwood. Show all posts
Showing posts with label Clint Eastwood. Show all posts

Tuesday, November 19, 2024

We cannot break the law we can only break ourselves of the law



Okay, first of all the thing about Juror #2 (2024, Clint Eastwood) is it’s got this they-don’t-make-‘em-like-this-anymore quality going for it. It’s the cinematic equivalent of comfort food. It didn’t take long for me to get into it, and once I did, I was relaxed, in no hurry for it to end, under its fuzzy calming lull.
     As courtroom drama, the genre blends well with its plot. The prosecuting attorney says something to the jurors early on like, “nobody wants to be here. That’s what makes you such ideal candidates.” Being stuck in the theater for 2 hours is very conducive to taking an active interest in this jury room. I’d forgotten what a joy it is to watch a movie that is so familiar you aren’t doing the exhaustive work in something like a say, Oppenheimer. But that isn’t to say the plot isn’t well executed, because it feeds you just enough to grow increasingly intrigued. 
     The dialogue in Juror #2 is mischievously adorned with so many double meanings you have to acknowledge it as pointing to the duality of justice. And yeah, sometimes it’s heavy handed, like when the defense attorney is in a 50/50 pointing right at Juror #2 talking about finding the guilty man who did this. But I love it. It’s my ham this Thanksgiving. 
     The theme of Juror #2 is morally complex. And it's constantly embodied by its characters; mainly the 2 couples. You’re indicted as being complicit when you ask yourself what you think of character moral dilemmas like “when you let her walk away alone in the rain at night is that how you treat someone you love?” I see 2 sides, and I don’t know. The midpoint for me is when Zoey Deutch hears “Old Quarry Rd.” That’s the point of no return. And like, what about all the awesome overt symbolism names like the accused SYTHE (as in grim reaper), prosecutor FAITH (as in believe in her to do what’s right), and JUSTIN (not quite justice but close enough). 
 
In closing, you’re with Justin because Nicholas Hoult has to be as nice and as good as he looks. And you see him struggle to do what he knows in his heart is right. And you want him and Zoey Deutch to be happy; until he makes his decision; and you realize it was never possible. When the credits roll it hits you that most people decide what justice is in their own minds, and the chills up your spine are because in reality the life or death verdicts are in the outcome of a bunch of random ordinary people who on any given day will probably succumb to their own prejudices.
 
11/18/2024 AMC Parkway Pointe 15
Atlanta, GA

Tuesday, May 20, 2014

5 Similarities Between the Directing Careers of Woody Allen and Clint Eastwood


I. Prince of Darkness DPs
     A. Woody Allen and Clint Eastwood's best shot films are by the 2 American directors of photography known as "The Prince of Darkness" for shooting high key scenes and creating shadowy spaces where characters immerse. Gordon Willis earned his moniker on Klute (1971, Alan J Pakula) and The Godfather (1972, Francis Ford Coppola). Willis worked with Woody Allen on 8 films from Annie Hall (1977) to The Purple Rose of Cairo (1985). Bruce Surtees shot 8 films directed by Clint Eastwood from Play Misty for Me (1971) to Pale Rider (1985).
     B. So both DPs did 8 films with the respective directors.
     C. Both DPs last film in collaboration with the respective directors was in 1985.

II. Albino Girlfriends Slash Leading Ladies
     A. These dudes both had blonde girlfriends and featured them in their movies. Mia Farrow appeared in 12 of Allen's films from A Midsummer Night's Sex Comedy (1982) through Husbands and Wives (1992). Sondra Locke acted in 4 films directed by Eastwood from The Outlaw Josey Wales (1976) to Sudden Impact (1983) and costarred in both of his films with the orangutan.
     B. Neither men were ever married to their leading ladies, but they both had relationships lasting about a decade on and off screen.
     C. Farrow supposedly has translucent alabaster magic skin and Locke isn't really an albino but I have a friend who'd always called her that and it was convenient.

III. The 90s meant it was time to share the limelight.
     A. Both Allen and Eastwood were actors before they directed. Both typically acted in their own films and received top billing while rarely costarring with big stars (saved money no doubt?). 1991 Shadows and Fog included Madonna, Jodie Foster, Kathy Bates a year after Misery, and John Cusack. Allen wouldn't be as relevant if he didn't start throwing in the stars. 1992 Unforgiven co-stars Gene Hackman, Morgan Freeman, and Richard Harris. Academy Awards for best picture, best director, and Gene Hackman that year signifies the shift where Eastwood begins casting big stars and winning a shitload of Oscars for them.







IV. They began directing the same year.
     A. Allen and Eastwood both directed their first films in the same year. 1971 Bananas 1971 Play Misty for Me
 V. Both dudes really dig jazz but I don't so I'm going to leave it at that.

 What's the point of these comparisons? Nothing. There isn't one. If I actually thought this was important I'd be delusional and insane. But I have spent a huge amount of time watching all the films directed by these two American actor-directors and I think that historically both of their careers are important because they seem to pursue projects that they believe in even if they seem risky financially. Allen being a writer and Eastwood being a producer may have different effects on the pictures, but each work creatively on assembling the projects they'll be delivering.
 Plus I wanted to write something other than a movie review.
 --Dregs