Anomalisa (2015)

2017 #2
Charlie Kaufman & Duke Johnson | 90 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R


Written and co-directed by Charlie Kaufman (of Being John Malkovich, Eternal Sunshine of the Spotless Mind, and so on), Anomalisa tells the story of Michael (David Thewlis), a depressed customer service expert who perceives everyone else as looking and sounding the same — until he meets Lisa (Jennifer Jason Leigh), whose uniqueness to him immediately attracts Michael.

If you hadn’t noticed, Anomalisa (a portmanteau of “anomaly” and “Lisa”, not “anonymous” and “Lisa” as I’d assumed) is an animated movie. Although an everyday kind of drama that would be largely achievable in live-action, it uses the form to its advantage when depicting the central conceit, giving every character who isn’t Michael and Lisa the same face and having them all voiced by the same actor (Tom Noonan). For me, this was the most effective part of the movie. It’s a really neat way of executing the concept of not being able to tell people apart. Noonan is the film’s real star, too, voicing “everyone else” in a way that makes them sound plausibly unique but also all the same, a tricky balancing act that he nails.

The one thing that did disappoint me about it was this: the inability to distinguish people is a genuine medical condition, but the film tackles it only as a signifier of Michael’s depression rather than as an issue some people live with. Conversely, I presume that’s a pretty rare condition, whereas depression and isolated feelings are increasingly widespread, so the film perhaps has more to say in that regard. Ultimately, I shouldn’t be criticising a film for not being about something it’s not trying to be about (even when I thought that was what it was going to be about).

Even puppets get the blues

As for the rest of the movie… hm. It takes an age to get going, but once it does there are a few funny scenes (the “toy” shop; the hotel shower; Michael struggling with his room key), and who’d’ve thought a puppet movie would have one of the more realistic sex scenes in the movies? Especially as it pulls that off without becoming laughable thanks to Team America. More pertinently, it gradually unfurls a sometimes touching story about isolation and love. However, by the time it reaches the happy-sad ending (one person’s life seems to have been transformed; the other continues to be miserable), I wasn’t sure what it all signified. Maybe the line that “sometimes the lesson is there is no lesson” is very relevant.

So, some good stuff, but that long slow open takes getting over, and I’m not sure what it all meant.

4 out of 5

Synecdoche, New York (2008)

2011 #4
Charlie Kaufman | 119 mins | TV (HD) | 15 / R

Synecdoche, New YorkDespite its unpronounceable title, Synecdoche, New York starts out like a relatively normal comedy/drama… but then weird touches begin to creep in. A house that’s on fire when a character buys it and continues to be on fire for the next several decades, for instance. No one in the film bats an eyelid. Then the really weird bit arrives; the bit you all probably know; what the film’s about (except, of course, not what it’s About), as Philip Seymour Hoffman’s theatre director begins to construct a life-size New York within a warehouse.

This film is written and, for the first time, directed by Charlie Kaufman. “Ah,” I hear you say, “that explains everything.”

And if it was anyone but Kaufman at the helm you’d say the film loses its way at the point Hoffman begins his impossible undertaking. And maybe it does anyway. It becomes a complex mishmash of reality and the play being staged; although you’re never in doubt about which is which (such a twist would be far too obvious), you are in doubt about why it’s all happening. The relatively congenial first hour (ish) is followable; the rest… bizarre, weird, inexplicable. I’m sure it all Means Something, but I can well imagine as many viewers getting thoroughly fed up as finding it revelatory. I don’t think one opinion would be inherently superior to the other.

At times it almost reclaims itself from this descent into impenetrability, almost edging toward finding a revelation that will explain what we’ve seen. And I’m sure there is an explanation of some kind. But, by the time it reached its end, I’m not sure I really cared any more; Fiction meets realityand I haven’t begun to care in the months since I watched it. It’s the kind of film where, as it gets on, you feel it’s a rich experience that you’ll have to ponder for a bit once it’s done, even if there’s something you quite fancy watching on the same channel immediately afterwards. But by the end it became the kind of film I was fed up with pondering, and I bloody well watched what was on the same channel immediately afterwards. Kaufman’s weirdness can wear you down to the point where characters who were interesting and ideas (both plausible and of Kaufman-logic) that had potential cease to be worth caring about; where you go from the point of “I’ll look up an explanation on the internet once it’s finished” to “…meh”.

That could be just me of course. Roger Ebert asserted it was the best film of the 2000s. Maybe you’ll agree. Maybe you’ll find it inspiring or life-affirming or goodness knows what else. Maybe you’ll be so bored you’ll give up even before the end. But, having made it to the end, I’m torn between not being sure what to think, thinking I should make the effort to understand it, and still just not caring.

Right at the end of that Ebert article, way past the bit on Synecdoche, he says this:

The set of a set

Almost the first day I started writing reviews, I found a sentence in a book by Robert Warshow that I pinned on the wall above my desk… it helps me stay grounded. It says:

A man goes to the movies. A critic must be honest enough to admit he is that man.

That doesn’t make one person right and another wrong. All it means is that you know how they really felt, not how they thought they should feel.

This quote isn’t inherently more relevant to this particular review than it is to any other particular review, but I feel the need to consider it and include it for your consideration also. That said, it is relevant in this respect: it’s already provoked more reflection on my part than Synecdoche did. I think I’ll discuss it further another time.

3 out of 5

Synecdoche, New York is on BBC Two tonight, Friday 17th April 2015, at 12:40am (so, technically Saturday 18th).

Confessions of a Dangerous Mind (2002)

2007 #27
George Clooney | 109 mins | TV | 15 / R

Confessions of a Dangerous MindGeorge Clooney’s directorial debut is part biopic, part comedy, and part spy thriller.

It’s the last part that works best, but perhaps that’s just because I have a predilection for spy thrillers; that said, the filmmakers would seem to agree as, after a late appearance in the plot, it comes to dominate its climax. It’s also nicely shot, especially the excursions to Europe.

I would recommend it (though not quite as heartily as Clooney’s second film, the excellent Good Night, and Good Luck).

4 out of 5