I don't think you go to a play to forget, or to a movie to be distracted. I think life generally is a distraction and that going to a movie is a way to get back, not go away. – Tom Noonan
What happened was.. was playwright, actor Tom Noonan's directorial debut about two co-workers in a law firm in New York having a dinner date together. Tom Noonan, in his directorial debut, plays Michael, a Kaufmanesque bald paralegal (this film also happens to be one of Charlie Kaufman's favorites) who hides beneath a stoic veneer of learnedness hides the bitter insecurity of not having accomplished much in life. His play-act however has an effect on Jackie (Karen Sillas) who is impressed by the artist's aura Michael wears, hiding her insecurities about being a writer and a woman committed to action. The date doesn't go as planned, with the first date's oddity of mismatched communication becoming the dramatic device to introduce the darker folds of the characters. Michael holds sway over Jackie for the first 2/3rds of the movie, building a legend for himself as a Harvard dropout and a novelist 15 years in the making.
Things take a creepier turn when Jackie reads Michael the first chapter of a children's story she has written and offers to read it to him. Michael being the snob he is asks to listen to it, perhaps to brush off Jackie's simple thoughts. Jackie's story, What happened was.. turns phantasmagorical, going beyond the conventions of a regular children's story. Michael, and us as the audience, are then treated to a ten-minute out-of-body experience as Jackie reads her macabre first chapter from the movie, with the lives of people filtering in from the other apartments and the city lights creating an eerie atmosphere. Michael, who has visions throughout the reading offers Jackie a connection with his publisher, only to be rebuffed by Jackie that she already has one and that the book went to print, which takes him aback.
Through the course of the awkward night, Jackie throws several cues at Michael showing her physical interest in him, which he brushes away. This builds a frustration within Jackie who sees her feelings are unrequited which reaches a crescendo when Michael decides to leave the house without a warning setting stage for his final revelation as a broken couch potato who amasses his knowledge from TV programs and passes it on with his bookish demeanor. It's a harrowing portrait of a man who has to accept the defeat of his intellectual sham: He has no publisher and the book he's working on at the law firm is nothing but make-believe, adding to his persona as a Harvard dropout and perpetual paralegal at a law firm where he could've been doing much better. Jackie listens to Michael and delivers her finest line in the movie, ” we are all where we want to be Michael”.
What happened was.. is a horror movie disguised as a drama, where the horrors reflected are the inner workings of the performative act we put up as humans. This is a forgotten movie washed out by the hype of Pulp Fiction released that year. It deserves a revisit and is a film experience that will stay in the mind for a long, for the questions it asks are the ones we never want to confront.
I was under the impression that Blue Valentine was a musical after confusing it with La La Land. For the first 20 minutes I was waiting for Cindy (Michelle Williams) and Dean (Ryan Gosling) to break into song and dance. But Dean and Cindy are in no mood to dance. Their marriage is melting, Cindy is passive and Dean does not understand why. How did this couple even get together?
The interludes from six years prior paints a different picture – Cindy goes through an unplanned pregnancy with an abusive boyfriend and Dean is smitten by Cindy in their first meeting. Cindy ignores Dean initially, but a chance meeting on a bus brings them on their course to destiny.
Blue Valentine works on contrasts. It is the earlier iteration of the Marriage Story , where the juxtaposition of the past over the present gives us the colour book and the colours. Blue Valentine gives the viewer a voyeuristic insight into noticing the “red flags” in the romance that preclude the downfall. For a film that tries to explore the depth of a relationship as time passes by, the breakdown of the marriage works if there is a believable element of love that preceded the union.
The tap dance scene outside the bridal store serves this purpose. Dean and Cindy cannot see the end yet, they have to still fall in love but for the audience the dramatic hinge rests upon this act of falling in love. The scene is combustible, it has these two raw, imperfect strangers who need each other. Dean because he is smitten and Cindy because she's pregnant with someone she doesn't trust. It lets them be without the pressing problems that wait in their adult lives. The tap dance scene can also be termed childlike in the context of their relationship because what follows after is the stuff of Agony Aunt columns. The child in a relationship grows up, the problems that force Cindy to fall in love are far removed.
This effervescent two minute scene gives meaning to the tragedy that follows. We are propelled to fill in the blanks and involve our judgement to the failing marriage. The film offers no overt narrative support but it pulls us into it through the imperfections the characters create, giving us a chance to self-reflect about our own personal tragedies. I was a bit sullen that it wasn't a musical but it is whatever it takes to make you feel.
Yo, I was going to this movie thinking it was a rap comedy or something. I remember watching the trailer a few months ago but I didn't retain much of the information but I wanted this movie to be a comedy. The posters were also misleading, making it look like a cool-ass movie about these really hip people, but no. I see a group of women come from the previous screening and start crying after they plop themselves out in the sofa next to my table. I didn't really get their agony in German but it was something to do with the movie and this experience only raised my cortisol levels during my viewing.
Daniel Kaluuya repeats his Get Out act (or is his acting range limited?) with aimless staring and insecurity his major character traits. Jodie-Turner Smith is a revelation in her role, I went from hating her to liking and falling in love with her character in a matter of half-an-hour, which is both a feat of the writing and the acting. The characters are all relevant and feel real though some minor logical frustrations can be attributed to the dysfunctional trigger-happy American police system. Other logical frustrations however can only be attributed to the stupidity of the characters though the writing is sympathetic to the viewer's intelligence, so they can be excused.
There are intermittent scenes of comic beauty that liven up the proceedings and a delicious sex scene between the two leads which sadly is wasted because the movie wants the characters to be more poetic than they are. I understand the temptation, it is also is about race insecurity in the US but these characters were anything but. If the myth-making was to be the focal point of the story then some development in that direction would've been welcome though that part is left for the fade-to-black pause afforded to the audience.
The women from the previous screening cried for a moment, and then they left after having brief goodbyes and cracking jokes on their way out. If the net emotional effect of the movie can be boiled down to around five minutes — why be so preachy about it? Leaving the broader strokes the story aims for and focusing only on the main characters leads to a better viewing experience. I for most part was hoping that the characters would have a happy ending, having an old friend for dinner, perhaps with some Chianti and fava beans on a distant Cuban beach. In my version they still are, shot with the same skill as the rest of the film, listening to rap music and having some steamy sex.