Thursday, April 12, 2012

Movies about F'cking Losers: Sherrybaby


Okay, Kids...It’s Story Time
Once upon a time, not long ago...last week to be specific...I was on a very crowded flight home from Las Vegas, Nevada.   
I was near the back of the plane, seated next to a rather hung over older man.  I engaged in the minimum amount of small talk with him.  I had assumed our “single serving friendship” (to quote Fight Club) had ended soon enough.  At the last minute, an even more hung over but very attractive blonde lady rushed to sit between us.  
Very quickly, it became obvious that she just wanted to talk.  It didn’t particularly matter who she blabbed at.  The older guy, despite being married, was eager.  He started preaching to her about the love of Jesus.  In the same breath, he handed her a business card and said: “Call me.”
So, very quickly, we both got her life story...
She was a recovering (?) alcoholic with a six year old daughter.  Her much older husband had dumped her recently because she just couldn’t stop drinking.  She had gone to Vegas with her AA friends (yes, the logic there escaped me too).  
Oh, but there was more!  She had been to Jail for DWI...she had almost died from liver infection in her twenties.  She had even gone to the same high school I had.  She was exactly two years older than me.  (Liver infection and jail have yet to be on my resume though.) 
Keep in mind that we weren’t the only ones to bear witness to this story.  The entire back half of the plane was probably listening with a mixture of fascination and horror.
Here’s the crucial fact: This was a highly elaborate performance.  She obviously had told these stories several times over.  We weren’t privileged enough for a confession.  The strangers on the plane were just a captive audience.  
So what did I think about this?  “Dear lord, this is a train wreck...”  I couldn’t listen to her story without feeling saddened.  Mostly though, I felt for the people that were a lot more intimately involved in her life.  This wasn’t judgmental thinking at all.  It was just honest.  
The classic line is: “I hope you get the help you need.”  I didn’t say that to her, but it crossed my mind. 
I found myself rooting for her, despite the fact I knew it was sort of a lost cause. 

  
So What Does This Have to do With Sherrybaby (2006)?  
A few nights later I pulled Sherrybaby out of the pile of cheap DVDs.  The woman that Maggie Gyllenhaal portrays in this film is the fictional version of my travel buddy.  
What are the similarities?  
Okay...
Gyllenhaal’s Sherry is recently out of jail, and has a small child.  She’s a drinker, and a druggie, and more than anything she is just plain vulnerable.  This is a fact that doesn’t escape her.  She uses it to manipulate men to do various favors for her (quite literally, with her promiscuity adding a very uncomfortable plot element).  
She initially crashes at a half way home.  That doesn’t go so well after she half way provokes a fight with another resident.  (The movie has several interesting, telling scenes that don’t state anything outright.  You can say that the other former egged her on, but her reaction speaks volumes about the character.)   

After that, she goes to crash with her brother Bobby (Brad William Henke, who was also the sad eyed shoe salesman in Me, You, and Everyone We Know.)  Bobby is clearly a good hearted, generous guy who has sincere love for his sister.  What’s the problem in this situation?  He’s been raising Sherry’s child with his wife, and she is very much their girl now.  (To name check two other very good performances: Ryan Simpkins gives a very natural performance as Sherry’s daughter Alexis.  Bridget Barkan creates some real sympathy for Bobby’s wife Lynette.)
What’s the ray of hope?  Sherry at least has the good sense to go to a NA/AA meeting led by Dean (yes that is Machete’s Danny Trejo).  Dean is a good guy, who genuinely wants to help Sherry clean up.  Yes, he sleeps with her (and who doesn’t?).  Still, you get the sense that their relationship could work.  
What else happens?  Other stuff, honestly.  This is a very quiet, observant film.  The plot isn’t structured in a literal sense.  Most of the enjoyment comes from watching smallish scenes unravel to new discoveries.  
I’ve read some other reviews that fault Sherrybaby for falling into “Lifetime” territory.  Frankly, I find that an unfair criticism.  I like to credit myself with being fairly intuitive about where a movie is going.  This one surprised me.  The conclusion, while ambiguous in many ways, is hopeful without being forced into a “happy ending.”  


So does Sherrybaby succeed as a true “loser” movie?  
When I first started writing about anti-heroes, I had one inflexible rule: Have I been coaxed into sympathy for this fucking loser lead character?  
What’s the answer in this case?  
Remember my travel friend?  After hearing her long rant, I did sympathize with her.  There was absolutely nothing I could do other than listen.  Still, I couldn’t help wondering what was going to happen.  Where was her life going to go?  She had me (and the rest of the impromptu audience) hooked.  
Sherrybaby works in the same way.  Most of that credit goes to Gyllenhaal.  Her stock and trade as an actress (when she is well used) is to create this kind of vulnerable blank slate of a character.  “The lost little girl” who is rapidly becoming too old for that particular trap.  Her performance in Secretary was in the same ballpark.  You liked that woman, even if you didn’t understand why she needed to be chained and shackled.  
As good as Gyllenhaal is, she threatens to over shadow writer/director Laurie Coyller.  Her approach to both the script and direction is everything in this case.  The fact that she started off as a documentarian makes total sense.  She has well honed observational skills that she draws on here.  
This is a good, small movie that’s worth seeking out. 

I just wish I could have told them not to use that generic, “sensitive” acoustic guitar soundtrack.  

Sunday, April 1, 2012

Movies I Actually Enjoy: Carnival of Souls



(Editor’s Note: Oh dear, where has the time gone?  I had this idea for a continuing series during March.  Unfortunately, though, life did a fine job of getting in the way.  This is going to have to wrap it up so I can move on to other things...with more regularity.  Also, this is another entry that begs familiarity with the film.  If you haven’t seen Carnival of Souls then watch it and we’ll talk later.  I’m going to have to toss in some spoilers.)


At the top of the piece:
After much struggle, I’ve decided that I need to set up an important ground rule.  
I absolutely can’t be objective about Carnival of Souls (1962).  I love it.  It’s (to be frank) my favorite movie.  
I know that there are many movies that are vastly superior to it...if you want to nit pick about “quality.”  There’s some real stumbling blocks for amateurishness.  The acting is stagy, the script is too literal, the ghouls have some serious pancake make up...  
Really, though, quality be damned.  Let’s talk about striking a chord.  Let’s talk about personal taste.  
This movie has meant something to me...and continues to repay that interest year after year.  I’ve seen it more than any other film I can think of.  It’s the one flick I feel obligated to watch at least once a year.  
My collection of various copies has been a bit of a mania: I once paid $20 for a VHS clam shell that was shipped from the great city of Columbus, Ohio.  After that, I’ve gone through three or four cheap DVD versions.  As we speak, I have a scratchy public domain copy saved in my itunes account.  
That tells me something: Carnival has moved beyond being “just a movie” and become some kind of personal hallmark.  The best thing I can do in this scenario is try to answer that elusive question: “Why?” 


Okay: “Why?” 
That’s a great question...now let’s back track.   
As I’m sure most of the faithful can tell you, this was a staple of late night TV.  Sandwiched rather unmercifully between cheap infomercials and cheaply produced “shock TV.”  
I was about all of 16 the first time I watched it.  
I was about to cash in the remote, but something about this movie hooked me from the get go.  We’re going into the land of the intangible here.
From the first frame of Carnival, there’s a sense of almost unbearable dread.  The movie begins with a car full of innocent girls being plunged off a bridge to their doom.  It ends with the (now) obligatory “she was dead the whole time” finale.  (This particular twist was a relative novelty in the early ‘60s.)  
What happens in between the two isolated events?  What’s really going on underneath the surface of this cheap little horror flick?  
The fragility of being both mortal and human plays itself out in black and white.  Carnival about alienation in its deepest sense.  
The scenes that perhaps have affected me the most don’t involve the ghouls at all.  I’m talking about when Mary (Candance Hiligos) falls out of reality.  She can’t get another human being to see or hear her...despite flailing through the streets in a state of desperation.  That is truly scary: How many of us have felt an amped down version of that at a party full of strangers?  What about the first day of work?
People need acknowledgment, and a world without it is truly hell.  Loneliness is just another form of death.  There aren’t many films (horror or otherwise) that tackle this reality head on.
This leads me to ask a slew of other questions: 
What about the rest of the movie?  What about the “souls” themselves?  What about the creepy pavilion? 
While watching Carnival again for this review, I had a realization.  The scares (appearances of the ghouls) are just about perfectly timed.  Carnival has a very strict logic to it.  Mary is allowed to coexist with the living for just a little bit.  She has a conversation, or performs a mundane organ solo.  Could it be that she is finally at peace?  
No.  The head ghoul (referred to as “The Man”) is always right behind her.  He pops up at the window of the boarding house.  He shows up at the church after Mary’s first afternoon there.  I know this makes for a rather literal experience: Death is always lurking around the bend.  
Everyone knows that, but it’s a terrible idea to face.  The rationalist in us doesn’t believe in dime store tricks like the Grim Reaper.  The more emotional and superstitious side of us recognizes the sheer power of that symbolism.  “The Man” is just a glorified version of an ancient mythological figure.
Mary is a young, vital, beautiful woman.  There’s no real reason she should be dying now, is there?  No, there isn’t, just as there is no good explanation for anyone unexpectedly croaking.  That is what is so deeply frightening about what is happening to her.  By extension, it’s also happening to you right now.  
I’m dying as I write this.  You’re dying as you read this.  We’re all united in the fact that we don’t get to be here for very long.  
Packaging an idea that lofty into a simple entertainment is a big accomplishment.  That’s probably why I like Carnival as much as I do.  You get cheap scares with philosophy...and in a tight eighty minute package.
Philosophical Rambling Aside, what has stayed with me?  
The atmosphere, honestly.    
Say Carnival of Souls, and I can just see it in my head.  The organ score...the ghosts rising out of the water...
What other movie is quite like this?  It’s one of a kind.    
Does that really answer my question?  
No, I’m still only about 75% there.
In a sense, I’m not obligated to offer any kind of explanation for my favorite movies.  The fact that I have my own blog is the only incentive.