Van Gogh: Painted With Words (2010)

 

In my continuing tour of Benedict Cumberbatch’s work, I came across this interesting TV movie that aired on the BBC a few months before Sherlock first premiered.  It’s actually more of a documentary with extensive semi-dramatized portions, exploring Vincent van Gogh’s life through his correspondence.  Aside from some narration, everything spoken in the film is taken from letters written by or to van Gogh.  In that way, it sort of reminded me of Inside the Mind of Leonardo, which I watched during Capaldi Fall, but with less trippy imagery and a stronger narrative bent.

 

Aside from an appreciation for van Gogh’s paintings and a devoted love for Doctor Who’s “Vincent and the Doctor,” I can’t admit to knowing more than cliff notes of van Gogh’s life, so it was interesting to learn more.  The film is driven primarily by his letters to his younger, more stable brother Theo, chronicling his joys, loves, loneliness, preoccupations, and illness.  I was surprised to discover he only spent about 10 years really working at an artist – he spent almost a decade drifting in and out of various professions, forever taking on new passions and throwing himself into them with his whole being.  When he did become an artist, he similarly flitted between different styles, idols, and methods; each letter sings the praises of a new obsession.

 

As such, it’s not surprising that the documentary specifies his non-specific mental illness as bipolar disorder.  It’s a popular supposition, and it’s not hard to see in his whirlwind of fixations, clinging to each one as ardently as the last.  However, it’s also understandable why his family spent so long thinking he was merely enthusiastic and easily distracted.  There were times when they fretted over him, like when he lost yet another job or set his attentions too firmly on a woman they deemed inappropriate, but I get why they saw temperament rather than mania.  Van Gogh likewise didn’t appear to regard it as a problem; even putting aside the limited historical understanding of mental illness, manic episodes are easier to mistake for reckless abandon.  It’s the long bouts of depression that catch people’s notice, and it was the same for van Gogh.  Though he tried to combat it – keeping to a rigid work schedule, self-medicating with alcohol, changing his environment – it kept encroaching, and in the end, it took him.

 

Benedict Cumberbatch is really excellent as van Gogh, although in the early segments of the film, he looks so Sherlock-ish that it’s a little distracting.  Once the beard starts growing, he begins to look the part much more, and it’s easier to put Sherlock out of your head.  He’s alternately elated and despairing, bringing out the intense emotion of van Gogh’s words.  His earnest desire to leave the world a “souvenir of gratitude” in the form of his art is beautiful, and when he describes how he can’t bear to leave the house because he feels so desperately lonely when he goes out, your heart breaks for him.

 

The film, which also features former History Boy Jamie Parker as Theo, immerses itself in van Gogh’s work, from early sketches to copies of other artists’ well-known works to his own later masterpieces.  It’s rooted squarely in his heart, fitting for an artist who wished above all else for people to feel his paintings rather than study or appreciate them.

Favorite Characters: Peter Maximoff a.k.a. Quicksilver (X-Men)

 

Yes, I just did a Favorite Characters post.  Yes, the funeral-baked meats for my Days of Future Past review aren’t cold yet.  Yes, Quicksilver is only featured in one extended scene of the film.  I’m okay with it.  I could have talked about Quicksilver in my original review, but he was easily my favorite part of the entire movie and warrants a more thorough write-up.

 

Before getting down to business – it’s been common knowledge for a while that Quicksilver was going to appear in upcoming films for two Marvel franchises, X-Men and the Avengers (with his sister the Scarlet Witch joining in for the latter.)  The franchises’ film rights are owned by two separate production companies, so the twain ordinarily never meets; we’re not going to see Iron Man palling around with Wolverine, and Drs. Banner and McCoy won’t be comparing notes on what it’s like to turn into big ol’ monsters on occasion.  However, Quicksilver and the Scarlet Witch are two of the very few characters whose rights are shared by both camps.

 

But like I said, the production companies are still entirely separate.  That means two different interpretations of the character played by two different actors (incidentally, it also means the Avengers literally aren’t allowed to call the Maximoff siblings “mutants.”)  In other words?  Dueling Quicksilvers!  I previously assumed, sight unseen, that I’d find the Avengers version to be unquestionably superior, the Avengers films being the awesome-sauce that they are and the X-Men films being enjoyable but uneven.  Now, though, I’m not so sure.  The Avengers had better bring their A-game, because X-Men’s Quicksilver is amazing.

 

In the interest of avoiding spoilers, I won’t go into how Quicksilver gets involved in the action.  Suffice it to say, his particular skillset – super-speed – comes in handy, along his penchant for rebellious behavior.  He takes to the mission with distracted but bemused gusto, taking unnecessary risks and detours because he knows he can get away with it.  Throughout, he’s funny, unexpected, and very impressive.

 

Beyond simply moving really fast, Quicksilver embodies a speedster in every way.  He has no patience for anything – in the course of one conversation, he ping-pongs from watching television to playing games to picking pockets in the blink of an eye, and his annoyance at having to repeat himself is blatant.  His mind similarly races among thoughts, and he’s all too happy to make puzzling declarations without feeling any need to explain himself.

 

What I really love about Quicksilver is his relish for his ability.  No angsting about wanting to be normal for this guy!  He’s a teenager who loves what he can do, who’s figured out how to use it to his advantage, and who’s obviously spent time exploring the myriad possibilities it presents.  He’s also cheeky, reckless, and more clever than he seems at first glance.  The instant-classic “Time in a Bottle” scene is the highlight of the film and rivals Nightcrawler’s attack on the White House from X2 as the coolest thing I’ve ever seen in an X-Men movie.  Really looking forward to seeing him in future installments.

 

(Side note:  there’s been some Internet teeth-gnashing about how the movie changed his name from Pietro to Peter.  I don’t mind – since the Avengers is sticking with Pietro, it’ll make it easier to discuss the two interpretations without confusion once Age of Ultron comes out.)

Favorite Characters: Poussey Washington (Orange is the New Black)

Don’t ask me how, but in watching season 2 of Orange is the New Black, I managed to restrain myself to a single episode a day.  In the grand scheme of things, I realize that spreading it out over 13 days in lieu of binge-watching doesn’t dramatically shorten the wait until season 3, but it’s something.  Expect plenty of Orange is the New Black meditations in the coming days; naturally, though, I have to start with Poussey.  (Note:  while I won’t get into major spoilers, I will be including season 2 stuff, so read at your own discretion.)

 

When I finished season 1, I waxed on Poussey’s relationship with Taystee, but today is all about Ms. Washington herself.  Her exuberant personality won me over in season 1 – the inmates at Litchfield deal with their situation in different ways, and the Poussey we first meet is one who rolls pretty well with the punches.  She’s excellent at finding things to laugh about (even in prison,) she’s tirelessly supportive, and though she’s not afraid to get serious and speak her mind, she’s most content just shooting the breeze with her friends.

 

The new crop of episodes delve much deeper into Poussey, and while what we get isn’t as all-out fun, it draws a picture of this woman that’s a lot more detailed.  We still see Poussey’s capacity for joy and humor, especially early in the season – the Stand and Deliver cracks me up – but she goes through a serious trial by fire that tests her limits on all sides.  When Vee, someone from Taystee’s past, shows up in prison and tries to get Taystee back under her thumb, she quickly recognizes the importance of driving a wedge between Poussey and Taystee, and Poussey’s fight to keep her friend is grueling.

 

So what’s revealed about Poussey over the course of this storyline?  First, we see that she’s a good judge of character – she makes a piercing, spot-on observation about Vee that pinpoints her better than any other line in the series – and she isn’t easily swayed by flattery or manipulations.  She’s a born extrovert who craves companionship and values her relationships above all else, and the surest way to press her berserk button is to try and take away the people she cares about.  When push comes to shove, however, she won’t play nice with people she doesn’t respect just to keep her place at the table.  She’s fiercely loyal even when people don’t always deserve it, and she has an inner strength that drives her to face off against those who are bigger and more powerful than her.

 

She also gets her very own flashback episode to her pre-Litchfield days, which provides further insight.  Unlike some of the inmates we’ve met, she comes from a loving middle-class family with a wonderfully supportive father.  She was an army brat who moved around a lot, living in other countries and forming close attachments that were severed every time her dad was inevitably transferred again.  Though it’s obvious that she feels incredibly deeply, she’s developed the skill of pretending she doesn’t – it’s easier to cut ties with someone when you insist that you never really loved them.  It’s an interesting shade when you look at her frequent wisecracking and occasional tough-girl posturing:  a lot of it is genuine, I’m sure, but at least some of it must be rooted in this same defense mechanism.

 

Oh, and did I mention she’s a QPoC who’s both traditionally unfeminine and gorgeous?  Poussey for the win, people!

X-Men: Days of Future Past (2014, PG-13)

*Disclaimer: I really enjoyed Days of Future Past when it came out and, regrettably, welcomed Bryan Singer’s return to the X-Men franchise. Once again, it sucks that a film has been soiled by the presence of a powerful predator.*

 

*Update: Fixed an actor's name.*

The last time I checked my local multiplex showtimes, I found I’d missed both Belle and The Amazing Spiderman 2.  So, I decided to waste no time in following up First Class with the latest X-Men adventure.  Although Days of Future Past is clearly tied to the ‘00s X-Men films, the semi-reboot feel of First Class gives it the air of a sequel.  For me, it does what all my favorite sequels – like Catching Fire, Spider-Man 2, or The Two Towers – do:  tightens up the sloppier aspects of the first film while doubling down on what made it great.  While I liked First Class, I really loved Days of Future Past, and it made me excited about the X-Men franchise again.

In 2023, mutants and humans alike are being eliminated by a legion of nigh-unstoppable robots, and the situation is grim.  Professor X and Magneto agree that their best chance for survival is to prevent the inciting incident that first led to the creation of the robots, so Wolverine’s consciousness is sent back 50 years in time to assemble the troops and avert disaster.  (Note:  I understand Shadowcat was the one to go back in the original comic storyline.  While I get that, unlike Wolverine, Shadowcat ages and wouldn’t have a younger body in the ‘70s to jump into, it still feels like a missed opportunity to let Elliot Page be awesome; I shake my head at that.)

First of all, it’s great to see the old gang again.  Patrick Stewart and Sir Ian McKellen are as fantastic as ever, and Hugh Jackman plays Wolverine with his usual gruff charm.  Though Elliot Page’s Shadowcat has a reduced role, she’s still brave and resourceful in the 2023 sequences, and remarkably tough under pressure.  Not much to say about Storm, Iceman, and Colossus, since they’re mainly used in fight scenes, as are a smattering of new faces. 

On the 1973 side of things, James McAvoy is really excellent as a wrecked, disillusioned Professor X.  The events of First Class have taken a toll on him, as have the pain and sorrow a telepath overhears, and he has to be reminded of the hero he can be.  Magneto continues to make good points but terrible decisions, wanting to protect mutants from a fearful and ignorant public but having an unfortunate “obliterate first, ask questions later” philosophy.  Much like the Hulk, Beast gets in on action scenes and brainy scenes, and his Beast-look is worlds better than it was in First Class.  Mystique plays a pivotal role in the proceedings, and while Jennifer Lawrence is reliably good, the cynical part of me wonders if her explosion in popularity in the years between First Class and Days of Future Past influenced her prominence in the story.  Good ole Peter Dinklage gets in on the fun as a non-powered baddie and is of course his amazing self.

What else is there to say?  Terrific action, an engaging narrative, and excellent character moments.  I love the flavor of the ‘70s sequences, and I continue to enjoy the way the X-Men reboot weaves mutants into American history – I might have to make this movie my personal head-canon on the whole magic bullet theory.

Warnings

Language, comic book violence, and a little sexual content, including naked Mystique.

Top Five Stories: The Ninth Doctor

Since Nine was my first Doctor, I started the series on a major high note.  Even when the stories themselves were rocky (lookin’ at you, Slitheen two-parter!) Nine and Rose were utterly magnificent – I bawled when he regenerated.  Nine was only with us for a short time, but it’s still difficult to winnow his tenure down to a top five.  Here’s what I came up with.

“Dalek” (Series 1, Episode 6)

 

When I first saw this episode, I was a novice to Time Lords, Daleks, the works.  But you know what?  Didn’t matter.  I absolutely bought into the Doctor’s anguish over the events of the Time War, and seeing that even a single Dalek had made it out alive ravaged him.  In other news, the “lone monster terrorizes a secure base” trope is used excellently here, and my introduction to Daleks made me completely understand why small British children are so afraid of them.

“Father’s Day” (Series 1, Episode 8)

 

Rose’s request to go back in time and see her dead father doesn’t go as planned when she prevents the hit-and-run that killed him in the first place.  Though she gets time she never had with her dad, changing the past has serious consequences, and Rose realizes the responsibility that time travel demands.  The ending wrecks me every time.  Plus, young Jackie!  Couldn’t you just die?

 

“The Empty Child” / “The Doctor Demands” (Series 1, Episodes 9-10)

 

“Are you my mummy?”  So much to love in this two-parter.  A genuinely horrific monster in the gasmask zombies, great London Blitz backdrop, and terrific supporting characters in Nancy and the one and only Captain Jack Harkness.  Another great ending – this one gets to me in a good way.  “Just this once…”

 

“The Unquiet Dead” (Series 1, Episode 3)

 

New Who’s first celebrity episode features the Doctor and Rose fighting ghost-like creatures with Charles Dickens.  How could you not love that?  Dickens and the accompanying Dickens-related talk (the Doctor is such a fanboy) are awesome, the Gelth are intriguing aliens, and the Doctor and Rose get into their first real argument, showing that, as close as they are, Rose isn’t a fawning devotee who simply falls in line and lets the Doctor make all the decisions.

 

“Bad Wolf” / “The Parting of the Ways” (Series 1, Episodes 12-13)

 

Yes, it started RTD’s penchant for bombastic finales with zillions of alien menaces and resolutions that are more than a little deus ex machina, but I don’t care.  The Doctor, Rose, and Jack make a stand at the Game Station, and it’s wonderful.  These three love each other so much, they’re so brave, and there’s nothing they won’t do for each other.  I love everything about the Bad Wolf, and the ending is one of the best in the entire show.  Really and truly – fantastic.

X-Men: First Class (2011, PG-13)

 

Now that it’s summer and I have time to go to the movies, I figured it was time to finally see First Class before Days of Future Past leaves theaters.  There really aren’t as many superhero period pieces as there ought to be, especially considering the long history that so many comic series have.  While X-Men:  First Class doesn’t reach the heights of the first Captain America film, it’s a nice direction for a franchise that lost its way with The Last Stand.

 

Set in 1962, First Class is equal parts swinging ‘60s fun and Cold War drama.  Professor Charles Xavier and Erik Lensherr meet and begin a joint venture to discover other mutants like themselves.  Initial solidarity gives way to clashes, which grows into the schism we all know is coming.  There are Russians, great fight scenes, a nuclear standoff, and a shocking number of scantily-clad women.  (I mean, I know it was the ‘60s, but seriously – every single woman in this movie is dressed in ridiculously short skirts and/or shirts with plunging necklines and, on numerous occasions, nothing but lingerie.  I rolled my eyes when the X-Men are suited up for the final battle, and all the men have their shirts zipped up tight while Mystique’s is low enough to show off her blue cleavage.  What’s up with that?)

 

But I digress.  Since the film is a prequel to the original trilogy, it by necessity recasts a lot of people we know.  I don’t know that anyone could match Patrick Stewart and Sir Ian McKellen – that was a match made in geek heaven – but James McAvoy and Michael Fassbender do well as Professor X and Magneto.  Their tumultuous relationship forms the center of the film, and it’s compelling to watch them inevitably diverge in their philosophies.  My girl Jennifer Lawrence brings a lot of grit and heart to Mystique, and Nicholas Hoult (Tony from Skins) makes a great Beast; their subplot is terrific, a dynamic that demonstrates the Charles vs. Erik debate in microcosm.  Not being a comic book reader, I wasn’t familiar with the other mutants featured in the film, but they round out the team nicely.

 

The central ideological conflict between Charles and Erik is, for me, the most intriguing part of any X-Men film.  Though Erik is generally painted as the villain, and he’s definitely gone down a villainous route, it’s not as simple as saying Charles is right and Erik is wrong.  Charles believes in celebrating and fostering mutants’ abilities while at the same time protecting anonymity – for Charles, abilities are something that should only be displayed in private, and mutants themselves should blend into society at large.  By contrast, Erik believes that mutants shouldn’t have to hide who they are, and that assimilating is tantamount to kowtowing to the less-evolved general population; he rails against Charles’s belief that Mystique, for instance, should always maintain a façade and disguise her natural blue self.  Obviously, Erik takes things too far, adopting a stance of mutant superiority and hostilely regarding people without abilities, but Charles’s custom of falling in line with societal expectations is problematic as well.  I like that there isn’t an evident, cut-and-dry answer – it makes Magneto a more interesting villain, and the story on the whole is richer for it.

 

Warnings

 

Some language, comic book violence, thematic elements, and sexual content (including blue boobs.)

Relationship Spotlight: Tony Stonem & Sid Jenkins (Skins (U.K.))

 

For seven seasons, Skins dealt in relationships.  Each generation of the series focused on a different group of friends, and during its run, the show gave us great romances (Emily and Naomi, Rich and Grace,) friendships (Anwar and Maxxie, Alo and Rich,) and sibling relationships (Tony and Effy, or Katie and Emily.)  Perhaps none, though, are more interesting than the dynamic, dysfunctional friendship between Tony and Sid in the first two seasons.

 

I touched on Sid and Tony back when I wrote about Skins during Capaldi Fall, but they’re due for their own post.  Unlike other relationships I’ve highlighted here, I like this duo more for their watchability and dramatic potential than anything else.  While they definitely have strong moments together (like Sid helping Tony when Effy is in trouble, and of course their last scene in series 2,) their relationship is often destructive in a way you don’t see in many TV friendships.

 

With Tony and Sid, there’s a perfect storm of temperaments.  Tony is charismatic, commanding, and manipulative, whereas Sid is insecure, unambitious, and something of a doormat.  As such, they foster a dynamic in which Sid is easily led by Tony into doing stupid stuff, either for Tony’s benefit (buying drugs) or just for his amusement (playing into the drama with Michelle that Tony intentionally stirs up.)  Tony frequently gets Sid into trouble while he skates by unscathed, and he constantly insults Sid, calling him a loser, an idiot, a virgin, and an all-around screw-up.

 

It’s the clearest fictional example I’ve seen of an abusive friendship, or at least the makings of one.  Tony isn’t violent with Sid, but he has all the power in the relationship, often controls Sid’s actions and movements, and interferes in Sid’s other relationships.  Sid isn’t the only one at the mercy of Tony’s whims; Michelle is similarly caught up, and finds herself similarly coming back to Tony even when she knows he’s not good for her, but she has slightly more resolve than Sid.

 

I’m not sure if it was always the writers’ plan, or if they realized mid-season that Tony was simply too unlikeable, but series 2 feels like a course correction when it comes to Tony’s relationships with Sid and others.  The show literally knocks some sense into him and shakes up all the power dynamics.  This is, first of all, rife with drama – Tony no longer knows how he fits anywhere, and Sid doesn’t know how to relate to his friend anymore.  It also allows them to, slowly, develop something a little more equitable.  They argue, sometimes fiercely, rather than a defeated Sid taking all the crap the overpowering Tony dumps on him.  They wrestle with renegotiating their relationship, wishing it could be simpler but knowing it can’t.  They speak honestly about where they’ve been and where they’re going, Tony is forced to acknowledge how much he needs Sid in his life, and he comes through for Sid in ways he often didn’t in series 1.

 

Is this romanticized, the platonic version of a Nice Girl redeeming a Bad Boy?  Would it be more honest to show their relationship spiraling downwards?  Should we root for Sid to get out, because Tony only plays the part of the good friend when he wants to?  I’m not sure.  I generally like redemption arcs to be long and filled with struggles, and even then, I’m wary of other characters falling back into old relationships.  On the other hand, Tony’s circumstances in series 2 are extreme, and though he works to regain his old self, the Tony who ultimately comes out of the rubble is different.  All I know for sure is that I love these two.  They’re fascinating, they’re my favorite part of gen 1, and their final scene together is one of the best in the whole series.