Review: Away From Her

The other type of surprise I'm talking about, other than self-exploration or discovery, is what other people may bring into your life when they commit endearing acts such as sending you a surprise parcel. In a convenience and pace driven era such as now, whereby sending an sms or an email is the norm as opposed to a proper conversation over the phone or a painstakingly hand-written letter, I really feel the loss of the times of indulging in a long phone chat or the enthusiasm of exchanging snail mail. Needless to say, cards (and I don't mean e-cards) recieved have been increasingly scant.

Imagine my surprise when I recieved a parcel just a week ago sent by a friend who thinks I ought to see Away From Her (without anymore procrasination). J is an old world type, someone whom I think also believes in the value of written communication and one managed by postal services.

I had wanted to catch Away From Her when it was still showing @ The Picturehouse but for some reason, didn't. This indie film, which is a screenplay adaptation of author Alice Munro's short story The Bear Came Over The Mountain is directed by canadian Sarah Polley (who acted in Go! and Dawn of The Dead). And there are reasons why this film was included in many top movie critics' top 10 films of 2007.

The film begins by introducing us to the protaganists Grant (Gordon Pinsent) and Fiona (the Oscar-nominated Julie Christie) who have been married for 50 years and are currently basking in their golden years, or so it seems. The affection, comfort and understanding they have for each other is acute and tangible, such that one look says it all. Even silence speaks in their presence. Such is the powerful performances that both actors have portrayed...they make old age seems so loving and tender and something to look forward to. However, Fiona is suffering from Alzheimer's disease and as the days progress, her memory deteriorates fast and the couple is confronted with the fact that she would have to seek treatment and care.

Though she can't bear to leave him as much as he can't bear to lose her, Fiona makes a decision, while she is still conscious, to enter Meadowlake a retirement home for Alzheimer's sufferers so as to take the burden off from Grant and lessen his pain of watching her fade away. Grant is devastated at the thought of losing Fiona both physically and mentally but he accepts her decision, hoping for the best. Conversations between the two also hints at an unresolved tension that is the result of Grant previous infidelity but also at the gratitude on Fiona's part that he did not walk away.

After 30 days of not seeing each other due to a hospital's rule, Grant excitedly visits Fiona only to find that she does not seem to recall who he is and has even develop affections for another resident of the home. He is shattered at first but subsequently, it is his devotion and love towards Fiona that helps him to cope. We learn that self-sacrifice is sometimes necessary in order to secure the happiness of someone you love. I will not disclose too much of the plot and I highly recommend you go see it for yourself.

A powerful, inspiring story that shines a spotlight on Alzheimer's Disease, Away From Her is an honest but heart-wrenching take on the plight of sufferers and their loved ones. But the heart of this beautiful movie is how it showcases the essential foundations of marriage and how aging can be beautiful and graceful. Watch out for the brillant cinematography too! 9/10

Oscars 2008

This is cute - Daniel Day-Lewis, Tilda Swinton, Marion Cotillard and Javier Bardem toasted one another with their golden statues in the press room. Photo by Steve Granitz, Wireimage.com


So yes, I actually sat through the whole 3 hours (repeated telecast) of the Oscars and contrary to the common lamentation of viewers or entertainment reviewers, I didn't find it lengthy or tedious. Getting to watch the finest actors and actresses gathering together dressed to impress and commendable, quality films and their cast and crew getting the kind of recognition they deserved, all beamed right into the comforts of my living room. I mean, seriously, what is there to gripe about?

As I've probably mentioned before, one thing I like about such award shows are how they are able to bring all the best people in the film industry together. We can put faces to the usually unseen and unheralded writers and crew members of deserving works. During the presentation of Best Director in last year's Oscars, they actually had Francis Ford Coppola, Steven Spielberg and George Lucas on stage together to present the award to the long deserving Martin Scorsese. That was really a moment. Its impossible not to notice ladies man Jack Nicholson with his trademark shades prominently sitting in the front row, regardless of whether he is nominated for any awards. Where else are you able to find the likes of Daniel Day Lewis, George Clooney, Johnny Depp and co, seated side by side in such a gawk worthy manner?

Thankfully for us viewers and for the greater good of the entire film industry, the writer's strike ended just in the nick of time for Oscar to proceed with his 80th celebration. This year we've got Jon Steward, talkshow host of The Daily Show, as host. He kept the show lively without losing its formality with a balance of measured demeanor and string of tongue-in-cheek jokes. Political potshots were fired light-heartedly and even the "untouchable" celebrities were not spared. His hosting was one of the highlights of the show.

The second highlight is a tie - when Tilda Swinton and Marion Cotillard won in their respective nominated categories. The British and French actresses, together with Briton Daniel Day-Lewis and Spaniard Javier Bardem added to the international flavour that was to dominated this year's Oscars.



Power actress Tilda Swinton trade jabs with George Clooney in the law drama Michael Clayton. Image from Yahoo movies.


Tilda Swinton, whom I think carries off her flaming red hair really well, is known for her unconventional and dark roles such as fallen angel Gabriel in Constantine and sinister witch in The Chronicles of Nardia. She also starred alongside Leonardo Dicaprio in The Beach. Tilda looked genuinely shocked to hear her name being announced but recovered in time to give a priceless acceptance speech.

"I have an American agent who is the spitting image of this — really, truly the same shaped head and, it has to be said, the buttocks. And I'm giving this to him because there's no way I would be in America at all. "George Clooney, you know, the seriousness and the dedication to your art, seeing you climb into that rubber bat suit from 'Batman and Robin,' the one with the nipples, every morning under your costume ... on the set, off the set, hanging upside down during lunch. You rock man."



Marion Cotillard wins critical acclaim for her startling transformation as Edith Piaf in La Vie En Rose. Image from yahoo movies.


Then came the equally shocked and visibly overwhelmed Marion Cotillard who won Best Actress for her biographic role as legendary French chanteuse Edith Piaf in "La Vie En Rose". Coincidentally, the same song was used in her earlier film "Jeux d'enfants", which was the film that made me fall in love with her. Though the actress is recognized for her French works, she also gave English-speaking performances in Tim Burton's Big Fish and Ridley Scott's A Good Year. Marion beat favourite Julie Christie, who was nominated for her role as a woman wasting away from Alzheimer in the precious indie "Away From Her". Backstage, she continued to gush in adorable exhilarance.

"It feels so good. I'm totally overwhelmed with joy and sparkles and fireworks and everything which goes like bom-bom-bom."

There were no surprises in the Best Actor and Best Supporting Actor categories. Daniel Day-Lewis took his well-deserved prize for his violent turn as an mercenary oil magnate in There Will Be Blood while Javier Bardem continued his winning streak after Best Supporting Actor wins at the Golden Globes, SAGs and BAFTAs. Speaking of violent, most of the top films were of darker material and erm, violent characters and Jon Stewart didn't miss a beat when he commented in his opening monologue,

"Does this town need a hug? What happened? No Country for Old Men, Sweeney Todd, There Will Be Blood. All I can say is, thank God for teen pregnancy."

Another highlight was when independent musicians Glen Hansard and Marketa Irglova performed the irresistably romantic duet "Falling Slowly" from their film Once. Their winning song certainly outshoned the cheesier ditties from the Disney musical Enchanted.

No Country For Old Men, which had generated alot of pre Oscar buzz, was the big winner of the night. The catchy-sounding modern Western literally strolled away (due in part to the Coen brothers' reticience in displaying their emotions) with 4 awards, including Best Picture, Best Director, Best Adapted Screenplay and Best Supporting Actor.

So at the end of the day, I'm just left with a violent desire to watch No Country For Old Men and There Will Be Blood.

881

Since I caught "881" with my mom and sister some 3 weeks back, I've been itching to catch some getai action. Sadly, I didn't manage to and the Seventh Lunar Month has since ended.

The movie brought back good memories though. It made me recall the days when my grandpa would bring me downstairs his Kallang flat, my hand in his, to watch Teochew opera and puppet shows. Every seventh month of the chinese calendar without fail, which is also known as the Hungry Ghost Festival, a stage platform would be erected at a wide open space near the flat and uncles and aunties would flock there with children in tow to watch the performances every night. Pavements would be lined with jossticks, red candles and food offerings and there would be circular patches of charred grass leftover by the burning of paper money. These offerings were for the spirits of the dead whom the Chinese believe are released from the gates of Hell for a one month visit to earth. The getai performances are supposed to provide entertainment for these wandering souls and the first rows of plastic chairs are usually left empty for them.

My dad would bring our whole family to watch getais too and I remember it was back in the 90s when evergreen singers wearing colourful outfits belting out classic Hokkien and Chinese songs started to eclipse the painted expressive faces of Teochew Opera and the erhu and cymbals accompanied hand puppet shows.

The getai world along with those florid memories soon slipped into the recesses of my mind. My dad and grandfather left us and the world moved along at breakneck pace. The getais have evolved into flamboyant song and dance performances with multi-talented fast-talking comperes, rambuctious Hokkien techno numbers and lithe dancers scantily clad in sequinned pieces. Even the stages have gone from simple wooden plank and poles setup to sophisticated surround sound system, shiny disco-light balls and fanciful themed backdrops.

This is well-portrayed in "881".

If you haven't caught Roystan Tan's latest film, I suggest you dash to the nearest theatre before the film run ends. This coming from a person who usually shuns local film productions and isn't a particularly patriotic person. There is a reason why it has grossed over 3 million dollars in cinema receipts, outdoing Jack Neo's Just Follow Law and has been selected as our country's official entry in the Best Foreign Film Oscar race. Although I do not believe it'll be among the finalists, the film is truly one of the rare products that has quality and national pride stamped all over it.

"881" is a musical comedy which revolves around two aspiring getai singers and their struggles to make it big on stage. Other than the director's obsession with numbers (Roystan's previous movies include "15" and "430"), 881 also significantly refers to the main characters, the Papaya Sisters, two friends who become sworn sisters after being brought together by their passion for getais. Big Papaya and Small Papaya (played by Yeo Yann Yann and Mindy Ong respectively) are taken under the wing of Auntie Ling (Liu Ling Ling) who becomes their manager as well as a motherly figure to them. The story unfolds through the eyes of Guan Yin (Qi Yuwu), who is the adopted son of Auntie Ling. Although Guan Yin's narration can be heard in some scenes, he has no actual dialogue with the other characters because he is mute. Aside from playing with his pet rooster in his free time and nursing a crush on one (or both) of the sisters, he is also the chauffeur, photographer and caretaker.

Funny moments are aplenty when veteran getai performancers Wang Lei and Karen Tan turned up to banter with Liu Ling Ling's auntie Ling in pure explosive (minus the vulgarities) Hokkien. Their chemistry is evident and even kids were laughing along in the cinema I was in.Then for reasons unknown, there is a cheesy part about Auntie Ling's twin (also Liu Ling Ling), a diety living in a temple who grants the Papaya sisters their wish to be successful getai singers if they abide by her rules. Rules are meant to be broken so the journey for the sisters is fraught with obstacles. Oh and be mentally prepared for the special effects during the battle between the sisters and their main rivals, the Durian sisters (played by MTV VJs May and Choy) and the latter's mangled english.

Still, credit must be given to Roystan for being able to inject serious and heartrending moments into a movie that is mainly steered by music, humour and a dose of craziness. Characters ala Moulin Rouge break out into song and dance numbers to express their emotions on top of the excellent synchronized performance of the Papaya sisters on stage. I reckon a significant amount of the movie's 1 million budget must have been lavished on the outrageous but lovely costumes. The sisters and their rivals went through so many costume changes, I lost count of them. The unbridled showcase of singing and dancing is also equivalent to a trip to getais that are usually found in heartland areas.

I believe a good story reaches its aim when the audience is able to relate to it and the plot achieves this with its strong relationship themes. There are the exceptionally poignant scenes (spoiler!) that deals with Small Papaya's struggles with cancer and the eternity of sisterhood. Whether its the love between the sisters or their fiery passion for getai, you can tell that the film struck a chord with the audience with the unbashful shedding of tears and generous applause.

881, thanks for bringing back the memories.For a traditional culture that may soon be lost with the passing of generations and tweaking from modernization. For the people whom I'll never forget.

Broken English

To be honest, the first and main reason that made me want to watch this movie is Parker Posey. The gorgeous, irresistably charming actress whose forte is appearing in indie, conversational pieces and winning praises from even the staunchest film critics. Occasionally, she pops up in mainstream fare and when she does, the roles are highly memorable. She obviously had heaps of fun portraying an evil, campy vampire in Blade:Trinity and a sexy, fiesty fashion designer seeking a divorce in Laws Of Attraction.

Known more for her comedic and madcap performances, Parker turns in a more calibrated and contemplative performance in Broken English. As a single, thirty something woman working as a guest relations executive in a boutique hotel, Nora Wilder seems to have it all, on the surface. She is beautiful, intelligent and always dressed to kill. Her job allows her to meet the rich and the famous and becomes a topic of enthusiastic discussion amongst her mother's friends. She attends the hippiest parties and her bestest friend provides yoga company, shopping advice and emotional support. Not to mention, she has a cozy, sleek apartment to herself.

This sounds like a single woman's dream. Just that well, Nora is single, lonely and desperate for love. Ironically, she is cynical about finding it and has her heart well-fenced up. She tries her luck at love, meets handsome promising men but they are all wrong for her. After a couple of disasterous dates, she sinks into a deep funk. In a rather poignant scene, Nora breaks down in a restaurant after confessing to her mother about how lonely she is. Although her mother (Gena Rowlands) oftens reminds Nora how she "gave away" a good man to her best friend by introducing them, she shows support by telling Nora to "to go everywhere even if you don't feel like it." Nora's best friend Audrey (a wonderful chirpy Drea de Matteo) is also a reliable buddy cum cheerleader who keeps her company when she is down.

In her depressed state, Nora decides not to celebrate the Fourth of July but after drinking wine by herself and staring at the four corners of her quiet apartment, she makes an eleventh hour attempt to quell her restlessness and emptiness by going to her colleague's party. There, she feels even more out of place until she meets a dashing, charismatic Frenchman Julien (Melvil Poupaud) with a fedora hat and plenty of patience and persuasion. Julien's genuine interest in Nora and his ignorance of her pent-up frustrations, is the perfect antidote to Nora's jadedness and skepticism. They spend a beautiful weekend together but his steadfastness causes her to have an anxiety attack in public as she grapples with the relationship that is unfolding. When Nora realizes that his feelings might be true, Julien has to return to his country and she is faced with a dilemma. To stay in her safe but stagnant environment or to go with him to France, and give herself and love a chance?

Although the synopsis of the story seems to be about finding love, I think it is essentially about a typical educated, independant woman living in a fast-paced, modern society, dealing with her neuroses. The director's own compassion for women, together with the magnificent acting from Posey, manages to capture the excruciating struggles of loneliness and overwhelming insecurities of modern women. I love how the slow-moving pace and the unfanciful everyday dialogue contributed to the realism of the film and the melancholy which stayed long after the film has ended, made me think...

Its wierd that I'm not even at that stage of my life and I can totally identify with Nora. Its not about finding love. Its about feeling lost, empty and lonely. I think its about finding ourselves.