If I Had a Million

What would you determinately do if your health was failing and you possessed millions, and didn't want to pass them down the age old trusted family line?

A tycoon in a fit of rage suddenly decides to give his wealth to strangers, and writes cheques for a million apiece for names he chooses at random from a phonebook.

What follows is an ethical imbroglio passionately and humorously miraculously cast, which perhaps influenced the creation of Les nouveaux sauvages (Wild Tales) even if the films are remarkably different.

An eccentric somewhat clumsy dependable husband finds himself working in a china shop, but he's docked large sums each cheque for every delicate dish he's broken.

After receiving the unexpected payday he rambunctiously reckons with his unsettled fortunes, with over-the-top zealous improvised reasoning, intentions clear, message shockingly sent.

It looks as if traffic regulations and unwritten rules had yet to codify the road (1932), for within the imaginative film many a road hog sees disastrous comeuppance.

In fact a couple take their lucrative gains and buy several new automobiles, and then deliberately curtail the rides of unsuspecting self-centred motorists.

To give millions aways to strangers a thoughtful idea abounding with zeal, I'm surprised it's never been remade new predicaments and trends new peculiar outcomes.

Perhaps judiciously setting about to write epic poems about nothing in particular, slowly immersing oneself in the zone with full-time fortuitous finicky fitness.

Perhaps writing something indeed applicable to contemporary distressing disputatious globalization, factoring the rise of social media in, and the mad obsessions of emergent despots.

Perhaps heading out for lunch every day assuming the restaurant had daily specials, with many a nightly meal at Végo extravagantly sampling the multifaceted delights. 

Perhaps just giving everything away to save African wildlife endangered rhinos and elephants etc., spending your remaining decades helping out on a reserve taking care of various beasties.

Perhaps investing learning how to trade stocks and turning one-million into ten or twenty, never spending any of the original amount, leaving behind a preponderant nest egg.

Thought provoking film with a massive potential audience this kind of idea no doubt still compelling.

Who would the eight 21st century directors be?

Perhaps residing in different countries worldwide.

The Fabelmans

Complications emerge as a young filmmaker comes of age (Gabriel LaBelle/Mateo Zoryan as Sammy Fabelman), traditional paths proving rather unorthodox, natural rhythms and dynamic imagination vigorously challenging habitual routine, bewilderingly misunderstood at times, what can you do, but keep moving forwards?

His father's (Paul Dano as Burt Fabelman) gifted with electronics and keeps finding new jobs in different cities, his career idyllically advancing, his family life somewhat haywire.

His oldest son for instance finds constructive camaraderie in Phoenix, and as his filmmaking aspirations develop, a curious legion facilitate his dreams.

Questions of race or ethnicity don't become confusing until they move later on, and non-sensical religious tensions frustratingly divide what should have been non-violent friendships.

Whatever happens he keeps creating never shying away from visionary responsibilities, sexuality a bemusing mistress, elaborately examined through multivariable storytelling. 

It's fun to watch as his narratives come to life and his ideas bedazzle and entertain, I'd argue it's essential viewing for any youngster hoping to one day make films.

The way he intuitively learns to encourage performance and produce special effects without any training, skilfully blended in far reaching scenes abounding with props and a large cast in motion.

I started writing poems in the woods as a lad and kept it up throughout my adult life, I never really wanted to coordinate people though, I generally preferred being alone.

It would have been cool to actively take part but everything was always quite serious, and creativity flourishes at play, when y'all ain't mad about somethin'.

Sam does extraordinarily well when directly engaged with others, however, and builds up what appears to be a genuine rapport in enthused environs.

I sort of wish I'd had an odd experience with an eccentric uncle like his in the film (Judd Hirsch as Uncle Boris) in my youth, I always thought the arts would be like a friendly union, remarkably incorrect was I.

But at times if I read the signs correctly there are definitely prolonged periods of fascination, and I'm very grateful to the people who support me, and put up with my variable moods.

Perhaps I should steer clear of the middle as is also advised in They Live, but I usually don't proceed with a plan, I just sit down and see what I come up with.

I suppose to be honest I'm guided by how I was taught to behave in my youth, in school, on TV, with family, and at church, the pedagogical strategies often at odds.

I imagine everyone's like that while trying to negotiate mutating stimuli.

If I don't say it often enough, I'm thankful.

Spazz may just be my best.

*I was really impressed that the mom in Everything Everywhere All at Once never abandons her daughter, not even with the universe at stake, she still believes in her troubled child. In The Fabelmans, Mitzi (Michelle Williams) leaves her husband for another man (Seth Rogan as Bennie Loewy), but it isn't a spur of the moment decision, and she struggles to hold on to her marriage for years before leaving. It must have been an incredibly difficult decision to make and I don't blame her for making it. I think people should try to make it work. But if it doesn't and you're miserable, there's no harm in leaving. She still looks after her kids and they continue to forge loving bonds. I always wanted things to work out as a kid. But so many things change with the passage of time.