REBEL IN THE RYE

Nicholas Hoult     Kevin Spacey     Hope Davis     Sarah Paulson     Zoey Deutch     Victor Garber

     In some of the early scenes of the film, we get a graphic picture of J. D. Salinger’s personality as a highly self-confident, even cocky, social climber in his flirtations with Oona O’neil (Eugene’s daughter, charmingly played by Zoey Deutch).  He does capture her attention just by the way he introduces himself, and although she flits away very quickly, she’ll remember him later, and they will develop a romantic relationship.

     The essence of the film is about Salinger’s passion for writing and a compelling need to be published.  This is partly related to his father’s (Garber) wish that he would go into business rather than pursuing the arts, which is encouraged by his mother (Davis).  Interestingly, his grandfather had insisted that his father Sol give up piano and go into business, which he did, and the family lived in very comfortable circumstances.  But horrified at the thought, J. D. was not to be deterred.  I have heard from writers, as well as other artists, that to practice their craft is a given like breathing, not to be ignored, as I suppose was the case for Salinger.

     Salinger subsequently developed a mentoring relationship with one of his professors, the unorthodox Whit Burnett (Spacey), who had an eye for talent and could see into Salinger’s having antiauthority issues and knew how to deal with them.  Burnett was just what Salinger needed for continual encouragement, tolerance for Salinger’s biting sarcasm, and vacillation between feelings of superiority and hopelessness.  He is shown to be critically responsible for Salinger’s writing and finishing his most famous novel, Catcher in the Rye, which is partly autobiographical. Salinger’s agent, Dorothy Olding (Paulson) also provided support, and was instrumental in his getting a lucrative contract with The New Yorker to publish his short stories.

     Although the meaning in the title is a puzzle, Rebel in the Rye (1951) does an excellent job in capturing Salinger’s personality, his prickliness, his need for privacy, his condescension toward others and an unforgiving attitude, along with the single-mindedness with which he approached his profession.  Even family seemed to have been a secondary priority.  He served in the military during WWII, and suffered thereafter from what appears to be PTSD, from which he received some measure of relief in Buddhism and meditation.     

     Director Danny Strong, who wrote the screenplay based on Kenneth Slawenski’s novel, J. D. Salinger:  A Life, relates his story well, although perhaps superficially, showing Salinger’s relationships with family members, friends, publishers, his work, and people in general.  Perhaps the span of time Strong tries to cover is too wide, given the rich experiences of its subject; this necessarily abbreviates many events that could have given the work more depth and texture.

     Nicholas Hoult captures the look and personality of Salinger in a convincing way, and the supporting cast is very fine as well, especially Kevin Spacey, Sarah Paulson and Zoey Deutch.  The scenes with Hoult and each of these characters enliven the pace and pulls us in.  This is distinctly in contrast to the recluse we have come to know as Salinger, who lived in the woods and never published again after 1953, although he lived for another 57 years.

An account of a recluse compelled above all else to write:  J. D. Salinger

Grade:  C                                    By Donna R. Copeland

BABY DRIVER

Ansel Elgort     Kevin Spacey     Jon Hamm     Jamie Foxx     Eiza Gonzalez     Lily James

     The opening car chase is spectacular—and this is from someone who hates such things, along with interminable gunfire.  But Edgar Wright’s wit and sensibility make those scenes in this movie entertaining.  To see the driver Baby (Elgort) maneuvering through all kinds of tight spots tailed by dozens of police cars with red lights and sirens in full blast, and then later see his body “dance” in similar ways preparing a sandwich in the kitchen at home is truly a work of art. 

     But the most delightful—and true—aspect of the film are the characterizations of the most motley crew you’ve ever seen.  Baby is beholden to a criminal boss called Doc (Spacey) who forces him to drive get-away cars to pay off a debt for a teenage transgression.  Baby is something of a savant (maybe Asperger’s Syndrome) who has an affinity for driving cars and a phenomenal memory, even while listening to music with ear buds always attached and on.  Oh, and he likes to record all conversations, which he puts to music in his spare time. He has a back-story that supports his idiosyncrasies and talents, which accounts for his personality and tastes.  He has a deaf foster father, Joseph (C. J. Jones), whom he clearly adores and guides him in ethical behavior.  Joseph is successful as a parent, because Baby has unassailable values and a conscience.

     Ahem.  Baby Driver reminds us that events in our lives are not always under our control, often because of the good/bad side of things.  Doc is good in one sense and bad in another.  He’s good with a kind of honesty—he honors his promises—but bad in—oh, let me count the ways.  You will see if you go to this film.  Doc’s criminal flunkies are colorful, really bad, guys.  One (Doc never puts the same team together twice) is Bats (who really is) (Foxx).  He cannot fathom someone like Baby and rudely taunts him, is always quick on the draw, and challenging of everyone.  Buddy (Hamm) and Darling (Gonzalez) are kissy-face lovers who are only a little more sane.  At least Buddy has some appreciation for Baby’s music, but that bond is fragile.  There are others just as colorful.

     Wright’s dialog and the synchronization of music and action with it is truly impressive in every detail.  Jobs are planned and carried out with precision, while Baby waits in the car, pantomiming comically to his music.  Seldom can a film be so entertaining, violent, funny, and smartly mapped out, while maintaining entertainment value and some degree of plausibility and heart.  Elgort will likely be put on the map of fame and glory with his portrayal of this unusual, complex, and lovable character.  He becomes smitten with a waitress (James), which makes him even more endearing. 

     Jamie Foxx is another standout, whose character is meant to drive everyone crazy, but is sharp as a tack.  Loyalty is foreign to him, and he tests limits with one and all as a matter of course.  Yet, he is funny as well.  These are only some of the many loony tunes Doc recruits for his jobs.

     Music (Steven Price) and cinematography (Bill Pope) support and enhance the script and are enjoyable in their own right. 

One of the very best films of the 2017 South by Southwest Film Festival in Austin, Texas.

Grade:  A                                    By Donna R. Copeland

ELVIS & NIXON

Michael Shannon   Kevin Spacey   Alex Pettyfer   Colin Hanks   Tracy Letts 

             This well conceived parody about the art of pandering to celebrities and politicians and the self-entitlement that is inherent in both groups is subtly clever and funny.  Apparently this is the second film of the rather bizarre but real encounter between President Nixon and Elvis Presley, and just as interesting is the fact that the picture taken of the two on that occasion is the photograph most often requested from the National Archives.  (The previous film, called a “mockumentary” and entitled Elvis Meets Nixon, was directed by Allan Arkush and released in 1997.  I didn’t see that film, but it looks like maybe both are similar in their capturing the essence of the encounter.  For some reason I do not know of, the current film is said to be the first account of the meeting, disregarding the previous film.)

            The current Elvis & Nixon captures the American idolization of celebrities, giving it a ‘70’s flare with screeching young females ready to throw themselves at Elvis’ feet at the mere mention of his name.  But they’re not the only ones—a President’s aide can be just as enthralled, and come up with “politically reasonable”, convincing arguments as to why the President should meet with him.  The President is skeptical, and initially refuses; but when he learns that he can impress his daughter Julie, he relents. 

            Other arguments for the meeting (made principally by Elvis) appeal to Nixon’s sense that the Communists are behind the protest movements against the Viet Nam War and drug use among the “Lefties.”  It is with a sense of purpose that Elvis wants to “infiltrate” their organizations and be the one to catch them in illegal acts.  His arguments for this include the fact that as an actor he is an expert in costume and disguise(!).

            In his appeal to Nixon’s suspicious nature and his pandering to his vanity, Elvis pulls off something few would deem probable.  Badges mean a lot to Elvis (and he collects them, showing his Memphis Sheriff’s badge for his identification at airports, etc.), and he wants one from the Bureau of Narcotics and Dangerous Drugs.  Illustrating/lampooning how that administration found it so easy to break the rule of law, Elvis was indeed given the badge.  (Not a spoiler; it’s in the National Archives.)

            The writers (Joey Sagal, Hanala Sagal, Cary Elwes) and director (Leza Johnson) should be credited with making an informed, entertaining film that is not just a parody of the main characters, but as well a look at American culture, politics and government, some of which still holds true today.  Just like back then, we get the impression that the American populace and some politicians can be drawn in with facile arguments that single out group(s) to be the “enemy”… and that the rule of law is not necessarily something to be taken seriously in all circumstances.

            Without the two main actors (Spacey as Nixon and Shannon as Presley), who are chameleon in their abilities, this film probably could not have been so successful.  It’s uncanny to watch each of them portray their characters’ gestures, voices, and manners—exactly as those of us from the ‘70’s recall seeing on television.  Supporting actors Alex Pettyfer, Colin Hanks, and Tracy Letts also deserve their due in making this a strange but believable film.

A film not so distant from current cultural and political realities.

Grade:  B+                                    By Donna R. Copeland