October 14, 2005
Let the Dominoes Fall Where They May
After tackling projects with some semblance and/or pretension of dramatic gravitas in recent years, DOMINO finds Tony Scott regressing to the shamelessly shallow showiness synonymous with his earlier work. While that is not necessarily a bad thing, it is a bit of a letdown considering he's working with a real-life subject that would lend itself to a balance between visual slickness and narrative substance: the late Domino Harvey (played here by Keira Knightley), daughter of actor Laurence Harvey, one-time model and bounty hunter. But those looking for a serious look at what is no doubt an intriguing life won't find it here; the opening text disclaimer of "based on a true story... sort of" is actually misleading as aside from those details mentioned above, the story concocted by Scott and scripter Richard Kelly in no way, shape or form resembles any sort of actual events.
What DOMINO's screen story is, however, is a wild, funny, sometimes surreal, action-adventure audiovisual experience. To call it a traditional "movie" seems a wholly inappropriate description of the hyperactively imaginative sensory overload of guns, nunchucks, blood, raucous comedy and media satire. There is a twisty plot at work here--while under interrogation about a heist gone horribly awry, Domino reflects on the events leading up to her current predicament and her life in general--but Scott and Kelly feel less concerned with any straightforward storytelling than creating a chaotic cacophony that, though not exactly moment-to-moment reflective of Harvey's life, is perhaps truer to capturing the extreme spirit of her rough-and-tumble existence. Knightley is still a limited actress with some irksome habits (namely, reciting dialogue through clenched teeth), but for a film that makes no bones about operating on stylish surfaces, Scott employs her presence and her tics wisely for the part of a tough grrl. DOMINO is the very definition of divisive cinema; its restless visual style, jagged plotting, bursts of broad humor alternating with those brutal violence, tenuous connection with reality, and 90210 name-checking destined to send heads spinning in both good and bad ways. The sound and fury may not be signifying anything particularly deep, but sometimes sound and fury can be quite something in its own right--and for a true character (in every sense) like Domino, it's enough.
Making a Joyful Noise
With a title like THE GOSPEL, it would be easy to peg Rob Hardy's faith-themed drama to be a piece of exclusionary, preach-to-the-converted propaganda. But the writer-director manages to achieve the tricky feat of creating a film that respectfully represents its milieu while effectively delivering a resonant message that is as uplifting as it is universal.
The basis of the film is recognizably, specifically Bible-based, however, as it is a variation on the story of the prodigal son. Here it is David Taylor (Boris Kodjoe), a successful R&B singer who returns to home to Atlanta when he learns of his estranged bishop father's (Clifton Powell) ailing health. The Bishop's condition also happens to reflect the sad state of his beloved church, for which David's childhood friend Charles Frank (Idris Elba), now a reverend and heir apparent to the Bishop, has grand recovery plans. David's plans of a smooth homecoming, though, are quickly quashed when he's not exactly welcomed with open arms but rather raised-eyebrow whispers and condescension; his celebrity status matters little even to a simple young woman like Rain (Tamyra Gray), the single mom choir singer in whom David takes an interest.
Oddly enough, while David's thread is the one that is overtly scripture-inspired, it is also the least interesting and involving, partly because of the rote familiarity of it, but also due to the casting of Kodjoe. While the erstwhile ensemble member of Showtime's SOUL FOOD admirably takes on a stretch for his first big league big screen lead, he never really rises above the merely adequate at best. He never quite owns the character's musical numbers, whether the opening R&B number or his centerpiece gospel performance; while the lipsynching task (David's singing vocals are provided by Greg Kirkland) does put Kodjoe at a disadvantage from the get-go, he doesn't put forth the necessary effort to make the illusion of David's "singing" convincing. Ironically, in other areas his performance too visibly shows his strain, coming off as uneasy and a bit of a dramatic lightweight in the presence of his more formidable co-stars, whether the likes of seasoned veterans Powell and Aloma Wright (especially noteworthy as church secretary Ernestine) or the effortlessly commanding Elba and Nona Gaye (as David's cousin and Charles's wife Charlene).
Luckily there are those other actors and storylines to carry the film when interest in David and his plight flags. In fact, Hardy could have easily made the film about Elba and Gaye's characters, and it probably would have been better for it. Both Charles and Charlene go through their own individual spiritual journeys--Charles in reconciling the ego boost of his "mega-church" ambitions with their selfless intent; Charlene in coming to grips with her buried feelings of inadequacy--that lead to epiphanies in a far less predictable and hence involving manner than the prodigal son track, but even more engrossing is the story of their strained relationship. While the reasons for their marital troubles are never explicitly stated until the end, Elba and Gaye are remarkably eloquent in their silence and stillness, reaching levels of nuanced emotional complexity not present anywhere else in their film. When their subtle anguish finally reaches a climactic eruption, the searing scene just underscores just how much more powerful the film and impactful its faith-affirming message could have been had the film centered around them.
Even so, in its existing, simpler state THE GOSPEL effectively conveys that message without bludgeoning a specific belief structure into its audience. Hardy approaches the film as though it just so happens that this particular story takes place within the Southern Black Christian church, no more, no less; the underlying theme about recovering one's sense of identity, home, and faith--in whatever that may be--comes across in a relatable way regardless of one's denomination. Helping immeasurably is the buoyant music; the soundtrack features a number of rousing original tunes by Kirk Franklin and stirring performances by Gray as well as a number of gospel stars appearing in cameos, such as Fred Hammond (who executive produced), Yolanda Adams and Martha Munizzi. But beyond the music itself, these energetic sequences are effective because they ring so true; unlike the glossy Hollywood movie musical number treatment in films such as THE FIGHTING TEMPTATIONS or even the climax of DIARY OF A MAD BLACK WOMAN, THE GOSPEL's performance scenes feel genuine, playing as if directly culled from an actual Sunday service. In focusing his camera on those singing and clapping in the pews as much as those doing so in the choir, Hardy creates a palpable, welcoming sense of community; the musical moments here are not about highlighting singers' voices but how these voices can bring people together despite their differences and flaws and then create and share in a greater sense of uplift.
THE GOSPEL works in a similar way; despite some unevenness and technical turbulence along the way, everything assembles into an appealing and entertaining package that makes up for whatever it lacks in perfectly polished sheen in exuberance and passion for its subject and message. From top to bottom those involved in the project obviously believe, and by the time the last note rings out, one may be surprised as to how much one has come to believe as well.
Like many film soundtracks released these days, THE GOSPEL's tie-in album from Verity Records features a number of songs and alternate versions that do not appear in the film. While these tracks (Dietrick Haddon's "Change Is Gonna Come," Hezekiah Walker and LFC's "I Need You to Survive," Kirk Franklin and Papa San's "He Reigns" and Fred Hammond and Natalie Wilson's "Put Your Hands Together") are worthwhile in their own right, it's a bit disappointing to hear their inclusion over some of the defining musical moments in the film, such as "Peace Like a River" performed by Cynthia Simons or, most notably, Tamyra Gray's "Seasons Change," which is the film's soaring showstopper (and a potential Oscar contender if campaigned properly--heads up, Sony Pictures awards team)--and yet nowhere to be found on the disc. Gray, who is more or less the key musical voice in the film, is only represented here once, with "Now Behold the Lamb"; her on-screen version of "Put Your Hands Together" with Greg Kirkland (Boris Kodjoe's stand-in voice) is supplanted by the one offered here by Hammond and Wilson. Kirkland is also shortchanged somewhat, as he also is only represented a single time with "You Are Good," but at least that's his character's most prominent number. His early-in-film R&B number, "Let Me Undress You" (written and produced by Daron Jones of 112) is also absent, but its exclusion is understandable (though still a little disappointing) considering it's hardly of a piece with the inspirational theme of the album--and, indeed, THE GOSPEL soundtrack is a solid collection of contemporary gospel selections and an uplifting listen; that a few of the tracks ("He Reigns," "Now Behold the Lamb" and Martha Munizzi's "Glorious") are live recordings enhances the rejoicing spirit. It's just that the disc is not the ideal commemoration of the film's musical experience--which is one of the film's strongest virtues.
Sights Unseen
If you think remaking John Carpenter's memorable 1980 chiller THE FOG is a bad idea, apparently Sony Pictures agrees with you, as they're going for broke releasing Rupert Wainwright's bigger-budget update on nearly 3000 screens without any advance screenings. Small-screen stars Tom Welling and Maggie Grace head the cast.
TH!NKFilm earns points for releasing Canadian auteur Atom Egoyan's latest, WHERE THE TRUTH LIES, uncut and with an NC-17 rating. In this adaptation of Rupert "Escape (The Piña Colada Song)" Holmes acclaimed novel, a writer (Alison Lohman) investigates a decades-old murder mystery involving a once-popular comedy duo (Kevin Bacon and Colin Firth).
Nine women's (Kathy Baker, Amy Brenneman, Elpidia Carrillo, Glenn Close, Lisa Gay Hamilton, Holly Hunter, Amanda Seyfried, Sissy Spacek and Robin Wright Penn) lives--told in nine unbroken takes--intertwine in Rodrigo García's ensemble drama NINE LIVES.
Next time...
...more reviews, including KISS KISS BANG BANG. As always, check out my home site, Mr. Brown's Movie Site, for additional reviews.
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