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Reviews
In the Cut (2003)
Deep, lush, cruel...brilliant
My only regret is that I was originally influenced by the dismal reviews and did not see this film in the theatre. So many critics skewered Meg Ryan in particular for "trying to reinvent her image" with this complicated role that it became impossible for audiences to divorce themselves from the bad press. This is unfortunate because I for one had no idea that she was capable of such an outstanding performance. But that's only one of the surprises I experienced while watching IN THE CUT.
This is not a conventional love story in the Hollywood sense, and I think a lot of folks who are seeking a more traditional and idealized romance will not be satisfied with the gritty nakedness of this film both literally and figuratively. There are scenes that had me absolutely riveted, aching with discomfort over the vulnerabilities displayed by the two lovers in the midst of their extreme circumstances, and I'd be lying if I said I wasn't placing myself in Frannie's shoes throughout the film. You have to be able to accept that Frannie's sense of deep passion is in direct juxtaposition with the danger she perceives. Once you've done that, the story vibrates with honest eroticism.
Props to Mark Ruffalo as Detective Malloy -- he is, in a word, exquisite.
Of all the romantic films in cinema from the past 10 or 15 years, there are four standouts in my collection that I would like to mention here. IN THE CUT is one of them. The others are similarly unconventional and equally outstanding: SECRETARY, THE PILLOW BOOK, & SEX, LIES AND VIDEOTAPE. If you "get" these films, you'll appreciate IN THE CUT. See this movie.
RKO 281 (1999)
I want more from this film!
The key to enjoying this film is in being able to divorce yourself from the idea that this is an accurate representation of the making of Citizen Kane. RKO 281 as a stand-alone film is not bad, though the short running time left me feeling like I'd only seen the primary colors of what could've been a rich piece of fiction.
And it does feel more like fiction than truth.
Watching RKO 281 as a Welles enthusiast was a struggle. Welles himself was such a unique *presence*, a magician in more ways than one, and Liev Schreiber just doesn't evoke the god-like charisma and fury that were manifestations of Welles' particular genius. I would've preferred Vincent D'Onofrio (who pulled off an excellent Welles in Ed Wood after only two weeks of preparation) or even Oliver Platt. It is important to get the "character" of Welles RIGHT in a movie about his masterpiece. If RKO 281 failed egregiously on any level, it's this one.
Though this film is about the MAKING of Citizen Kane, it doesn't address why Citizen Kane had such an impact later in its life. We know that Welles had to fight very hard to save his picture against a variety of political agendas. However, a hard-won battle does not a classic film make...on its own. The only clues we get from RKO character Welles are his passionate and other-worldly exclamations along the lines of, "I just KNOW this is the MOMENT for this story!--Everything I AM is in this film!", etc. It's too mystical for me, and I think it does an injustice to the efforts of Welles and his collaborators to suggest that it was simply the luck (and maliciousness towards Hearst) of a spoiled boy wonder that made what is widely considered to be the best movie of all time.
Welles was in a unique position during that era. He had carte blanche in the movie studios--a status unprecedented before or since--and had the means to create his vision fully to his specifications. Getting the picture *released* was nothing short of a miracle, however, and I think it would've been interesting to dive into yet another layer of what Citizen Kane represents: Art for Art's sake. It's heartbreaking to note that Welles' subsequent film The Magnificent Ambersons was butchered beyond recognition by the studio--those who were fortunate enough to view Welles original (and now lost) cut thought that Ambersons was his true masterpiece, that Citizen Kane was merely a warm-up (!!!). Can you just imagine what this man could've accomplished if only...?
Which brings me to William Randolph Hearst. RKO 281 barely scratches the surface of how powerful Hearst was at the time. The residual effects of his attempt to stop Citizen Kane's release were felt by the film industry (and by Welles in particular) for many years after, and I would've liked to see the nature of this confrontation more clearly.
I've often said that Citizen Kane was Orson Welles' bane and salvation, for we see in hindsight that he sacrificed himself (and ultimately his future)
to earn a beautiful and tragic place in cinematic history. Overall, I wanted an edgier, darker, and more complex account of RKO 281. If I remove all pre-conceived notions and expectations, I find that this docudrama is interesting and fun to watch, but ultimately, I cannot help being drawn back to what made this 1999 film possible: the tumultuous triumph of a long-shot movie as envisioned by a temperamental, inexperienced genius. There are many shadowy folds to the real story of Citizen Kane, and RKO 281 feels like a bowl of plastic fruit in comparison.
Jane Eyre (1996)
Powerful & Immersive--Bronte would be pleased
I've seen this particular film adaptation of Jane Eyre four times, and I'm still not tired of it. As a faithful fan of the book Jane Eyre, I could not be more pleased with the cast and their faithfulness to Bronte's characters. There will never be another Mr. Rochester for me now that I've seen William Hurt craft his subtleties around this firey and complex man. Charlotte Gainsbourg in the difficult title role satisfies completely. They make an odd pairing for such a profound love story, but I BELIEVE THEM. I watch feeling as if it could only be Them telling the story, and that is perhaps why I keep coming back to the movie. I can't recommend this film enough.