Showing posts with label Breakdowns. Show all posts
Showing posts with label Breakdowns. Show all posts

Tuesday, May 25, 2021

Falling Down

Joel Schumacher's Falling Down provocatively asks the question, "is ill-composed vigilantism more troublesome than it's worth?"

As a down-on-his-luck somewhat rigid individual finds himself stuck in another traffic jam, and rather than patiently waiting it out, decides it's time to abandon his car and walk (Michael Douglas as D-Fens).

His journey begins at a local convenience store where he critiques their elevated prices, haggling to bring down the cost of a Coca-Cola, before tearing the place asunder.

He then proceeds to walk through gang territory where he's suddenly asked to pay toll, his stubborn refusal instigating violence which eventually leaves him with a bag full of weapons.

He can't accept that he's divorced and prohibited form spending time with his daughter, and wants to see her on her birthday without any desire to make amends.

Meanwhile a cop is retiring after having worked several years behind a desk (Robert Duvall as Prendergast), for which he's frustratingly insulted by his Captain (Raymond J. Barry), who thinks he shouldn't have played it safe.

He's played it safe because he loves his wife who made significant sacrifices to marry him (Tuesday Weld), and has become somewhat neurotic over the years, trying to deal with grim potentialities. 

He's sympathetic and understanding and does his best to go with the flow, accepting idiosyncrasy and peculiarity particularized par for the communal course.

As D-Fens travels across L.A becoming more and more irate as the hours pass, Prendergast takes note of his comings and goings then heads out to solve one more case.

Falling Down presents sustained criticism of vexing realities taken for granted, from two similar yet divergent perspectives interrogating alternative paths seeking reason.

I've never understood waiting for hours and hours every working day in traffic, if the métro's a possibility it can save time and facilitate reading.

Convenience stores are convenient, why does it matter if things cost a little more? If my hair's eventually going to turn grey, it won't be because I spent a little extra on snacks.

You witness a vitriolic exchange while shopping for who knows what, if it's apparent the owner's unhinged, why do you hang around?

Job creation's essential, better to have people working then idle and irritated, even if the creation of work is at times perhaps not as rational as logic would hope.

It's still fun to attentively watch as D-Fens actively vents his frustration, as he heads from one worst case scenario to another, and takes on peeps just as angry and stubborn.

He goes way too far of course although I imagine others think he should have gone further.

A day spent crossing every line.

No limits, no rations, no quarter. 

Saturday, March 24, 2012

Carnage

Propriety is caustically deconstructed in Roman Polanski's Carnage as two couples meet to discuss a recent altercation between their contentious offspring.

And inadvertently try to get to know one another.

The situation is this: one kid was confronted by a group of kids mouthing him off so he picked up a stick and hit the leader of the group in the mouth, damaging his teeth. The parents of the former make an effort to apologize to the parents of the later by stopping by their apartment in a show of good faith. They discuss things amicably and the parents of the former are about to leave but one thing leads to another and their conversation is extended.

As the mother of the later (Jodie Foster as Penelope Longstreet) becomes more and more intrusive in her comments and suggestions, the father of the former (Christoph Waltz as Alan Cowan) becomes increasingly defensive and irate. The resulting polemic pits two couples from different socio-demographic backgrounds against one another and the children are soon forgotten as the animosity intensifies.

But each couple has their own internal struggles as well and the genders eventually square off while enjoying another round of afternoon scotch.

Known for its transformative curations.

Carnage works as a deconstructive piece which champions open honest airings of grievances over uptight formal indisputable appearances. Tearing away at the veneers which constitute a wide variety of social interactions, it finds catharsis through confrontation while productively disrupting and recasting established codes of conduct.

As everyone remembers their youth.

This could have been an exceptional film but there's something missing from its bitter tranquil blend. While I respected its formula, I couldn't find that cohesive regenerative spark which would make me want to wholeheartedly engage in subsequent viewings.

Some sort of kinetic catalyst.

Everything's reputably in place to make Carnage stand out and I think that may be the problem. This script may have found more life with a less successful cast and crew looking to make a resounding impact.

As they fight for recognition.