The Triathlon: Barfly (1987), Kiss Kiss Bang Bang (2005), La Haine (1995)

Well hello there my tried and true readers! After nearly a week, hiatus, are you ready for a whollop of a post? True to form, Millie and I have been watching so many movies, we've even become intimidated of our own blog, can you believe it? Me , intimidated of posting on the blog I created in her memory? Horse apples! I've watched some remarkable movies that merit entries, and given the requests I've received for certain posts, I offer you the triple blog. Each individual post will be slightly shorter than an individie would have been, but this format allows me to hit the juicy bits and open it up to you, the best audience around, for lots and lots of interesting blog chatter. I do sincerely apologize in advance as the following three films deserve much more text and depth than I am giving them. This saddens me, but I suppose it's better to have watched and posted then never have posted at all. Even with the three chosen, I am still neglecting Rachel Getting Married (7.5 bees) and All of Me (6 bees) - both are worth seeing, so there, they've been touched upon. Without further ado then ladies and gentlemen, let the triathlon begin! I give you Barfly, Kiss Kiss Bang Bang, and La Haine . . .

Barfly (1987)


Years ago, when I had recently moved back from San Francisco, my then estranged former roommate text messaged me for the first time in months: "see Barfly" was all it read. Given the nature of our relationship (a wonderful, warm reconciliation has since transpired), my ears were immediately, acutely perked, but it wasn't until movie night at the Taylor-Blanchard's last Sunday that I borrowed Jay's copy and finally watched it!

The Basics: Mickey Rourke plays Henry Chinaski, a classical music appreciating, whiskey loving writer/drunk with an optimistic live and let live attitude. Faye Dunaway plays Wanda Wilcox, an unflinching self-aware fellow barfly and boozehound with a debilitating love of scotch. Together they create a sort of anti-American, all-American relationship. Oh, did I mention that famous writer and poet Charles Bukowski wrote the screenplay? In short, two smart people who are poor, wasted drunks meet and swilly shenangans ensue.

Barfly was nothing like I expected. What did I expect? Well, the last movie I saw Mickey Rourke in was Diner and he was enjoyable, edible and, ever so slightly, predictable. I was also completely unfamiliar with Bukowski. Perhaps Millie's intensity meter should have heated up with Faye Dunaway (the last two films of hers I saw were Chinatown and Mommie Dearest, not especially light fare), but still, I imagined some sort of above average intelligence, sexy movie about pleasant drunks.

Was I in for an incredibly pleasant surprise? Barfly is dirty, scabby, degenerated sexy. It's dark and grimey and yet these characteristics in no way deter from how engaging and exciting the film is and the characters are, but rather defines it. What I expected was lighthearted and endearing, what exists is original, brilliantly executed realism full of, how shall I put it, irresistibly romantic grit. Rourke's Henry Chinaski is method folks - meeeeehhhhhhthod. Stanislovksi himself might shed a tear as there is simply no trace of other Rourke roles here, he is completely engrossed (and consequently engrossing). And Dunaway, well she loves roles with a certain disturbing swagger, to which she consistently lends a signature grace. Her unashamed Wanda is no exception. Then there's the script - what a script reader! I'm not sure it's every screenwriter that can tell the story of two poor drunks and make it so engaging, relateable, and dare I say, uplifting? So we're dealing with a literary script, two actors who completely get that, and very capably direction. Is there any reason not to see Barfly?

Millie's bees to knees meter (1 bee = blah, 10 bees = hoo-rah): 9


Kiss Kiss Bang Bang (2005)


Kiss Kiss Bang Bang has also been on my radar for some time. In fact, while cleaning out the basement here at mom and pops I found a "must see" movie list from college and Kiss Kiss had yet to be checked off. Turns out Jay and Jaime-Lynn, though they have ze movie, had not yet seen ze movie, and had been wanting to for some time. Hello - three birds with one stone, what fantastic odds! (and what a violent catch phrase I so often say . . . )

The Basics: A thief mistaken for and now posing as an actor (the absolute, one-and-only Robert Downey, Jr.) gets caught up with a Hollywood higher up (an inspired Val Kilmer) and an less-than-successful actress (Michelle Monaghan) in a rapid pace murder chase full of sordid shenanigans! Oh - and it take place over Christmas in LA, so it's very timely . . .

Kiss Kiss Bang Bang, to use the parlance of our times and a favorite sci fi phrase, is totally frakin' awesome. Millie thinks we can do better. It's a frenetic film noir in cahoots with an action film ripe with a self-sacrificing self awareness that is so sharp, we literally had bandaids and bactine out the entire time. (Ha!) Shane Black's screenplay possesses a most allusive Hollywood combo: it's smart and entertaining. No, it's not as intelligent and topical as say, a Bukowski screenplay, but the attempt here, I think, is just to be smarter and more enjoyable than others of its ilk, simultaneously mastering and mocking the genre, and dear friends, Kiss Kiss Bang Bang succeeds!

Kilmer and Downey, Jr. are scrumptious, a truly phenomenal onscreen duo. If you ever have believed me dear reader, and I certainly hope on at least one occasion you have, believe that they are simply not be to missed!

There is really nothing to dislike about this movie, except perhaps Shannyn Sossoman, why do people keep casting her? It actually reminds me of a line from the film, something about welcoming the audience to LA, a place where a girl is named Jill, but it's actually spelled J-y-l-l-e "or some shit like that" . . . shannyn . . . oh dear . . .

Millie's bees to knees meter (1 bee = blah, 10 bees = hoo-rah): 8.75

phew . . . how are you holding up? Ready for one more . . .

La Haine (1995)


My La Haine story is somewhat a cautionary tale. Months ago, perhaps even a year, Tanner gave me a series of VHS and told me that Hate was particularly good, but something about the cover, showing three tough looking boys with bad '90's haircuts and some sort of red/orange wash just wasn't appealing, and it has sat on the shelf since. Fast forward to last week when trusty old Netflix recommended a french film La Haine - the cover was simply black and white with three shadowy figures sitting asymmetrically on steps. The plot outline (no doubt the same) made me think 'oh Netflix, you do know how I appreciate a good foreign drama.' Then, on a trip to Waterfront, I saw it in the new acquisitions with Seth's solid recommendation. It wasn't until the credits began to roll and I saw the subtitled "Hate" that I even put together I was watching the movie Tanner had recommended so long ago. Never judge a film by its cover, content is infinitely more important.

The basics: In the projects outside of Paris, three friends pass the day awaiting the news of their badly beaten friend in the hospital, whether he has lived or died - Vinz, the tough spoken, softer hearted Jew, Said, the funny man Arab, and Hubert, the stoic black. (It sounds like the makings of a really bad joke, when in truth La Haine couldn't be any farther from farce.) The police and local youth have frequent altercations, and during the raid we learn of, one boy manages to steal a cop's gun and vows to kill if their friends dies.

I must apologize now for using a grossly overused phrase but it nonetheless describes exactly what happened: La Haine took my breath away. Mathieu Kossovitz's screenplay and direction are surperb. Let me just give you the Webster's definition of superb to really accentuate what I mean: "marked to the highest degree by grandeur, excellence, brilliance, or competence." La Haine is a certifiable masterpiece.

The choice to film in black and white lends a seriousness to the subject matter that is paramount with this type of story: it's so steeped in 1995, with clothing, climate, references, the whole nine, and yet the color, or lack thereof really, lends a much needed timelessness to the film. The quick cut edits work extremely well in the same fashion. The action takes place in roughly 24 hours, which is a tricky mind game in film because it can actually make the movie seem longer then, let's say, a romantic comedy that rushes through it's plot in two weeks time. But the sharp, precisely timed cuts, some to action, others to a clock, hurry the action along in an exceedingly beneficial manner.

The performances are also extremely good. Now I know I may make a few enemies with this next comment, and it has been years since I've seen it, but nearly every performance in Kids annoyed me. It's not that the subject matter wasn't compelling or the storytelling great, but the individuals actors themselves seemed like a group of wealthy scenesters. Okay, I exaggerate a bit to prove a point, but the case with La Haine is so drastically different, the performances are intensely true, a la Beautiful Thing (which is wonderful if you've never seen it). Vinz is played by Vincent Cassel, who has made my heart pitter pater with admiration in Elizabeth, Eastern Promises, and Shrek, so to see him so young and so committed was a real treat.

Excellent, pure excellence.

Millie's bees to knees meter (1 bee = blah, 10 bees = hoo-rah): 10

The very first perfect score!

and now, we rest . . . great work everyone!