Tag Archive: Philip Seymour Hoffman


Elder care for savages

THE SAVAGES written & directed by Tamara Jenkins (USA, 2007)
thesavages-cartoon

Though this movie received universal acclaim upon release, there were the inevitable naysayers. It’s interesting to read some of the negative comments. One says the story is depressing because it’s too much like real life while another says he was disappointed because he had expected a comedy.

I confess that, having glanced at the DVD cover image, I thought it would be more comic than dramatic. There are some amusing scenes but nothing to laugh out loud about. This is not so surprising since it touches upon a number heavy themes including sibling rivalry, mid-life crises, parental abuse and, most serious of all, dementia and dying. Not much cause for hilarity in this list!

It stars Laura Linney and Philip Seymour Hoffman as Wendy and Jon Savage. Both are single with messed up personal relationships, both have aspirations as writers and both are fundamentally unfulfilled. Continue reading

SYNECDOCHE, NEW YORK directed by Charlie Kaufman (USA, 2008)

This is a movie about life and dreams but mainly it’s about death.

We all have dreams, both big and small. Some of them are realized, most are not.

What gives us the impetus to work through our personal bucket lists is the transience of existence and the knowledge that someday we will die, as will everyone we know.

Theatre director Coden Cotard has a big dream. He wants to stage a play about everything: birth, dating, family and death. Particularly the last of these since, as he puts it bluntly yet accurately, “we are all hurtling towards death, but here we are for the moment, alive”.

Cotard wants his production to stand as his legacy and demands that there must be no compromises. It should tell the brutal truth, warts and all – no limits, no filters. He prepares post it notes for each participant, a single fact that the actors must build upon to create a character. Quickly you get the impression that the concept is so vast that it is unworkable. Continue reading

THE TURKEY OF MONTANA

MONTANA directed by Jennifer Leitzes (USA, 1998)

montanapshWhen a great actor dies, particularly in tragic circumstances, there’s an understandable temptation to praise all his performances as epic and/or essential.

Philip Seymour Hoffman appeared in many fine movies but all actors must live (and die) with their share of turkeys.

Put another way, for every Capote there will always be a Montana.

This movie is billed as a gangster comedy but this Tarantino for dummies misfires on every level.

Robbie Coltrane is the most unconvincing bad guy boss ever and his band of criminal misfits only succeed in shooting each other.

Hoffman is cast as Duncan, a scheming but inept accountant, a part he’s well suited for if he had a half way decent script. But the screenplay is dreadful, the characters are wooden and the soundtrack is hideous. These are impossible odds to overcome.

If you Google the director’s name you’ll find that Jennifer Leitzes now runs a designer jewelry company –  a career move I entirely approve of.

THE DEVIL’S IN THE DETAILS

BEFORE THE DEVIL KNOWS YOU’RE DEAD directed by Sidney Lumet (USA, 2007)

before-the-devil-knowsSadly, this movie title now seems more than a little ironic.

It comes from a Irish proverb (“May you be in heaven half an hour before the devil knows you’re dead”)  and turned out to be Lumet’s swan song (he died in 2011) as well as being one of a long list of films that stand as testament to the greatness of the late Philip Seymour Hoffman.

To say that it is a story of a dysfunctional family is a massive understatement.

Hoffman plays Andy Hanson who bullies younger brother Hank (Ethan Hawke) into carrying out the botched robbery of a ‘mom and pop’ store and Albert Finney is the overbearing father who discovers the horrible truth about his sons. Continue reading

THE MASTER, MADNESS AND MARMITE

THE MASTER directed by Paul Thomas Anderson (USA, 2012)

I was prematurely dismissive about There Will Be Blood, Paul Thomas Anderson’s previous movie. I only really appreciated its quality and power on second viewing. I strongly suspect that the same will be true of The Master and certainly feel inclined to reserve final judgement until I’ve had chance to see it again.

The film’s opacity and lack of plot mean that there is a temptation to dismiss the universal critical acclaim it has garnered as hype and it is clear that,beyond the smart press, it has already divided ‘ordinary’ punters. It has been branded as a Marmite movie, something you’ll either love or hate.

If asked the question ‘what is it about?’, the most typical reply would be that it is a veiled study/satire of the birth of scientology but this seems a bit reductive to me. As it raises philosophical issues about the nature of madness, rationalism and existentialism, dismissing it on the grounds that there’s no narrative arc seems to me to be a superficial reading. Continue reading