The Rare Review

Movies, books, music and TV

Report #3 On “Jane the Virgin” (Season Two)

I wish the creators of Jane the Virgin hadn’t made Luisa a lesbian because, as far as I’m concerned, Yara Martinez, who plays her, is too lovely to be one.  (Lipstick lesbians are too lovely to be lesbians.)  But, well, make her one they did; and so what we have is some curious comic action involving a lively beauty who’s uninterested in men.  What a drag.  At any rate, the comic action is there:  While Jane fusses with the baby, poor Luisa gets kidnapped by men who handle her with kid gloves until they unfeelingly whack her in the leg.  (What’s up with that?)  Luisa is a SOMEWHAT engaging character—she’d be more engaging in the arms of a man—and Martinez portrays her skillfully.  I fear the actress might be boring in serious moments, but in comic ones she can do funny desperation.  Counts for a lot.

 

 

A Note On “Rambling Rose”

Rambling Rose (1991), starring Laura Dern, pretends to be consequential but isn’t.  It’s as trivial as that 1984 flick with Sally Field, Places in the Heart, which at least features a nice slice of Christianity.  Rose has no real interest at all in Christianity and no good reason to exist.  If its nonexistence were a fact, we would be spared Elmer Bernstein‘s saccharine music and a slight adolescent vulgarity.

Cover of "Rambling Rose"

Cover of Rambling Rose

Jane The Bachelorette In “Jane the Virgin”

Shes a VirginSo far I’m indifferent to My Crazy Ex-Girlfriend.  Jane the Virgin is crazy enough, for all its soapy conventionality.  In the most recent episode, a Jane doppelganger called Bachelorette Jane shows up, pleading for our heroine to hurry up and choose which man to marry.  She isn’t a shadowy doppelganger, though; she’s a lively reality-show doppelganger, and the gag is extended far enough to show Jane’s suitors, Michael and Rafael, being interviewed re the virgin miss’s response to them.

The gimmicks continue.  At any rate it was a decent episode, better than the one two weeks ago.  Poor Petra has to put up with men again, the caricatures Scott and Lachlan, but, well, she’s also culpable for throwing a major scare into Rafael.  My crazy ex-wife!

I Wish “Sicario” Was Better. Even so . . .

The new movie, Sicario (2015), is about the labor of U.S. operatives in trying to wreck a horrifying Mexican drug cartel.  I don’t entirely believe the film any more than I entirely disbelieve it:  for example, is it not true that Kate Macer (Emily Blunt), an FBI agent, is a little slow in catching on to certain things the more mysterious federal operatives are doing?

The film propounds the idea that the only way the U.S. government can bring down those intractable drug lords is to use a vengeful Mexican sicario (hit man) who has personal reasons for killing Mr. Big.  Nothing very sophisticated about this, yet I cannot deny that Sicario offers a certain sophisticated naturalism.  It’s powerful.  One wishes it were better, but it is not the “dismal thriller” I called Denis Villeneuve’s previous movie, Prisoners.  

English: The Merida Initiative, a U.S. Counter...

English: The Merida Initiative, a U.S. Counter-Narcotics Assistance to Mexico. (Photo credit: Wikipedia)

A Provocative Flop: The ’95 Film, “Amateur”

Amateur (film)

Amateur (film) (Photo credit: Wikipedia)

Hal Hartley’s Amateur (1995) stars Isabelle Huppert, who wanted to work with Hartley after seeing his good film Trust, as a former nun who helps and is attracted to a man with amnesia and a very ugly criminal past which he naturally can’t remember.  This ex-nun, a ridiculous character, now writes pornography (!) but at least this establishes her resemblance to another woman who, instead of writing the stuff, acts in it, in porno movies.  She does this unhappily; she wants a changed life.  It transpires that she is married to the man with amnesia (!), who has treated her abominably and is the cause of her becoming a porno star in the first place.  Why this parallel between the actress and Huppert?

First let me comment that I do believe Hartley’s film, despite its childish and inept comedy, has something to say—namely, that outside any kind of religious milieu, redemption is very difficult, slippery, something to grope for.  We’re just amateurs at it.  Huppert believes she is a nymphomaniac who nevertheless sensed it was God’s will that she enter a convent.  Now she thinks God’s will is that she fulfill some sort of mission apart from the convent, which mission just may be her saving the porn actress, Sofia by name, from her amnesic but formerly brutal husband.  But this is amateur thinking.  It is true that Sofia and her spouse do not get back together, but Huppert has nothing to do with this.  Neither does she herself get together with the amnesiac even though she has fallen for him:  the film, you see, ends in tragedy.  God’s will is often known only imperfectly and often not at all, which is something else the movie says.  Sofia, too, does some amateur thinking with respect to redemption, and she ends up getting a man tortured and herself shot!  No will of God in this, is there?

Then again, perhaps we should ask whether cosmic retribution figures here.  A number of characters besides Sofia get shot or fall out of high windows; could it be they all deserve it?  Does Sofia get plugged (though not killed) because she is not only a porn star but also a blackmailer?  True, the amnesiac, who also gets shot, is not now brutal and he tells the ex-nun, “I don’t know what I’m sorry for, but I am sorry.  That’s got to mean something, right?”  But it may mean nothing at all if the fellow’s memory returns and, seeing what he’s missing, he returns to a life of crime, which is surely what would happen.  Hartley teases us with possibilities—doing so, I’m afraid, in a flimsy film.  Trust and Surviving Desire are the successful Hartley pictures (of those I’ve seen).

Page 236 of 317

Powered by WordPress & Theme by Anders Norén