Thank You For Smoking

When I was just out of college, I worked for 18 months or so in a congressional office in Washington, DC, and was able to get a good first-hand look at how politics work in America.  One of the more interesting aspects is how lobbyists shower members of Congress with attention and favors, such as tickets to Redskins or Orioles games, in exchange for legislative assistance on matters important to their cause. 

For instance, I went to an Orioles game once, courtesy of the Tobacco Institute, the association of cigarette manufacturers that lobbies for all things pro-smoking.  Not too long after that, the Congressman I worked for was scheduled to ask questions at a hearing on outlawing smoking on commercial airline flights.  The witness was a representative from the Tobacco Institute, and because of that, it came as a shock (but shouldn't have, in retrospect) that the questions my boss asked were carefully worded softballs that had been written out and faxed to our office by--you guessed--the Tobacco Institute.

That was a real lesson for me, but pales in comparison to the actions of Nick Naylor, the chief lobbyist for the fictionally equivalent Academy of Tobacco Studies in "Thank You For Smoking".  Nick is the boldest, brashest, most despicable kind of guy you could imagine, and yet, you really root for the guy.  As he explains to his pre-teen son, the trick to winning an argument is to sidestep.  The reason chocolate ice cream isn't better than vanilla, he goes on to explain, is that the freedom to be able to choose any flavor you want is even better.  And so it goes.

"Thank You for Smoking" takes us on a delightfully wicked and sharp satirical journey through the life of one of the sleaziest professions in Washington: the paid spin-meister.  And Aaron Eckhardt was simply born to play this role.  Rob Lowe should win an Oscar for best minor featured role for his turn as a Hollywood superagent whom Nick approaches for some strategic product placement help to boost Big Tobacco's image among consumers.

Thanks to a deft adaptation of Christopher Buckley's novel, writer and director Jason Reitman's debut feature film sails along smoothly and effortlessly, never bogging down, but being careful to allow some breathing room in just the right places.

The pic does not attempt to make serious points about the dangers of tobacco or the evil of tobacco lobbyists, and it will certainly not get an Oscar nod for Best Picture (though it is far better than some of last year's nominees).  But taken in the context of its realm--the political satire--"Thank You for Smoking" is really as good as it gets.

Aquamarine

This is a breezy little number about two teen girls who live on the beach in Florida. Claire and Hailey are best buds, and in five more days, summer will be over, and they will be separated when Hailey and her mother move to Australia. Naturally, they have a crush on the totally hot lifeguard, Raymond, and would just about die if he were to pay either of them even the slightest bit of attention. Soon enough, a big storm hits, and what washes up into the swimming pool but an enticing--you guessed it--mermaid? Come to think of it, aren't all mermaids enticing?

The mermaid, aptly named Aquamarine, has her own problem, which is to prove to her father that she can find true love, and therefore escape a forced marriage. Aquamarine tries to convince the two girls to help her pursue Raymond, with the goal being that if he says he loves her within three days, then Aquamarine won't have to go through with her nuptials. Of course, the two girls are loathe to assist in such a plan, since they have their eyes on him, but Aquamarine makes it worth their while: anyone who does a mermaid a favor gets a free wish, and the girls instantly agree that their wish will be to never be separated. And then, we are off to the races.

I have to admit that I was moved at points by this story, which is targeted, I need not say, at a demographic of which I am most assuredly not a member. But the deft storytelling on the part of the director hits just the right notes while avoiding the sledgehammer to drive home the obvious or, what is sometimes worse, to over-sentimentalize story beats. And there are some delightful touches, as when Claire bribes the bandleader at the beachfront hangout into playing a particular song to which Aquamarine and Raymond ought to be able to have their first dance. Claire's currency for the bribe? A plate brimming over with a HUGE piece of chocolate cake. Claire doesn't make a big deal over the cake--in fact she never even mentions it--but nevertheless it is a perfect reflection of what a teen girl would think would win over an adult. "Aquamarine" is loaded with clever and understated moments like this, and they are what make the movie all the more charming.

To be sure, this is a light comedy-fantasy aimed at tweener girls, but the screenplay has just enough heft and seriousness of purpose, combined with an astute grasp of the feelings of 14-year-old girls, that it goes just a little deeper than I expected. Girls, don't worry. This is not "Howard's End." But it is a pleasing and ultimately satisfying tale of two girls who mature to their ages and circumstances when confronted with an emotionally challenging situation, and they have a lot of fun and more than a few good laughs along the way. Ultimately, everone's wish is satisfied, but not at all in the way you would expect them to be.

Technical contributions are satisfactory, but the cinematography is uneven and a little on the shiny side. Special effects are generally good, though in one important scene, the use of a green screen background (i.e., modern day rear-projection) is glaringly obvious. Certain lines of dialog are obviously looped, but lively scoring added to the most important moments without calling too much attention to itself.

Oscars: Party Crasher

In a move that apparently took everyone by surprise, "Crash" won best picture over the favored "Brokeback Mountain" at last night's Academy Awards.

I have to admit that I thought "Brokeback Mountain" was, hands down, the best directed movie of the nominees.  I could make a very strong case for "Munich"--after all, no one has mastered the craft better than Spielberg--but in the end, I thought Ang Lee's handling of his story was more skillful than Spielberg's handing of "Munich," as the directing related to the particular stories they were telling.  Spliting hairs, to be sure, but sometimes, in the "busy-ness" factor, less is simply more.  So I was not surprised to see Ang Lee win that category.  Among the directing nominees, his and Spielberg's efforts were head and shoulders above the rest of the nominees.

But "Crash" as best picture?  That is a puzzlement to me.  Maybe it was the hometown factor, given that "Crash" was set in Los Angeles.  There is also the theory that publicity and awareness for "Brokeback" peaked too early, such that when Academy Voters were at the point of actually casting their ballots, "Brokeback" was losing its lustre, and "Crash" was ascendant.

One thing that pleases me greatly is the continued breaking of the tradition of Best Picture and Best Director going to the same film.  I was very pleased to see Spielberg win the directing award for "Saving Private Ryan," for instance, but I thought "Private Ryan" had major story weaknesses, even though it was a directing tour de force, and I felt that "Shakespeare in Love" was vastly superior as a complete movie. So, "Shakespeare" was more Oscar-worthy as Best Picture.

There should be no rule that the top two awards should go to the same film, and clearly, voters felt the same.  Having said that however, I think "Brokeback" should have won both categories, even while I am pleased that the Academy doesn't give a hoot for traditions.

My only other major comment on the awards this year is that Phillip Seymour Hoffman, while doing an outstanding job in "Capote," did not hold a candle to Heath Ledger.  But his portrayal of Truman Capote was certainly much more flamboyant and lively, and maybe in the end, just more interesting. But still, Heath Ledger was absolutely stunning in "Brokeback".    My ranking before the awards was Heath Ledger, Joaquin Phoenix, Philip Seymour Hoffman, Terrence Howard, and David Strathairn.

C'est la vie.  

The First Post

I am going to use this site to share my thoughts on movies that I like or don't like. I am writing as someone who has watched a lot of films, and knows something about how movies are made, so I will attempt to avoid too much technical jargon. Instead, I will try to state plainly my views and why I thought a particular movie was successful or unsuccessful.

It is my intention to only post reviews of new movies, to be reviewed as I see them in theatres. However, it is entirely possible that I will rewatch a movie on DVD or on a movie channel, and that I might feel compelled to post a review. And of course, it is also possible that I might see an older movie for the first time on DVD or TV, and feel like writing a review.

Enjoy the blog. I encourage thoughtful responses to my take on the movies.

Sincerely,

Mr. Sheldrake