The Monuments Men

The Monuments Men

It is devastating to watch a film be held hostage by its subject matter in a way that limits it from being anything more than what it is. The Monuments Men is exactly that, a film designed to celebrate art without having any type of artistic stroke to it. That being said, the film seems to be somewhat aware of its limits in the way that is glamorizes the idea of those limits by addressing the boundaries of language and art while constantly trying to create conflict in order to expand the stakes of the journey.

With a cast of some of the biggest American names, such as Matt Damon, Bill Murray, John Goodman and writer and director, George Clooney, the film highlights the patriotic American cause to save art (which is noted to be approved by President Roosevelt). Frank Stokes’ (Clooney) idea seems ludicrous to those with military minds he comes in contact with but from a position of looking back on history we understand the importance of the task. After Stokes gets the approval to move forward with the mission he gets to assemble an art dream team (which seems more of those left behind than those of the greatest minds). This aimless team with questionable talents is not limited to the previously mentioned American stars but like the war, includes those of the allied powers such as Academy Award winner Jean Dujardin (The Artist), and  English character actor Hugh Bonneville (Downton Abbey).

The barriers come into play with the casting of Australian actress Cate Blanchett playing the only female role of importance as well as the only character with any real opinions or back story. Blanchett‘s Claire Simone, a French woman, must work with James Granger (Damon) shortly after being forced to aid the Nazi’s  causing her to not trust the Americans after the occupation, due to a suspicion that they may also try to steal the art. The teams break off and showcase their comedic talents, such as Matt Damon trying to speak French even though those he tries to communicate request English rather than hear their language butchered. Breaking apart the cast most likely made the film easier to shoot but it creates this tonally off story where one character’s life is in danger inter cut with two other characters attempting broad comedy.

The conflict used to create tension is that Hitler has ordered all art should be destroyed if he or Germany is to fall, while the silent, fast moving, Russians want to take the art as compensation for their job in turning the war. This tension feels created as well as other parts of the film, forcefully pumping importance to the character’s narratives to give the mission more importance than actually is there. Clooney tries but fails to handle the tension and comedy that a film such as Inglorious Bastards (2009) succeeds with (barring the subject matter, some scenes feel awfully similar). This creates a film distracted by the influx of personalities overlapping melodrama and comedy without letting a particular genre effectively play out.

The Second World War was one of boundaries in both the way countries were invaded but also in the way it brought forth moral boundaries about America’s engagement in the war. The film suggests that art does not have these boundaries instead it is universal, able to be appreciated in all parts of the world by all types of people (The death of a Picasso is treated just as carefully as a death of a solider). These boundaries are also discussed with the casting and the way language is used. Cate Blanchett can play a French woman, differing languages can be overcome, and the English, French and Americans band together illustrating the way art can transcend boundaries. It is these ideas in The Monuments Men that could make it the prestige  picture the marketing desperately wants it to be but awkward balancing prevents the picture from being anywhere near what it is celebrating.

The Great Beauty Review

The Great Beauty

It is interesting to compare The Great Beauty to the recent release of Baz Luhrmann’s The Great Gatsby in the way both films present a depiction of wealth and excess through parties and cinematically unrestrained dance sequences. Not to mention a title that alludes to the novel’s, director Paolo Sorrentino announces his presence amongst the cinematic greats through the subject matter of the film. Although this presence could be read as premature due to Sorrentino’s filmography it is this confidence behind the character and allusions that establishes The Great Beauty as worthy of contemporary praise.

Through the view and narration of main character Jeb Gambardella we go through the repetitive nature of elitist Italian society. Jeb narrates to the audience in chapter breaks the phoniness behind the events (one being his routine during funerals to subtly switch the focus from the deceased to himself) All while taking part in the culture as if it has become a part of him. Jeb has not always lived atop of a building with the background of the Romanian Coliseum, in fact, Rome imprisons him as he daydreams back to moments of his early years before he wrote his novel that plunged him into the grasps of Italian upper class. Triggered by a death of the woman that rejected him before his fame and the knowledge that she wrote in her diary about him more so than her husband of many years, Jeb tries to break out using passive aggressive insults and romantic connections with a stripper (Sabrina Ferilli). Although a negative depiction of the rich is nothing new or groundbreaking it is the way that Sorrentino handles it and through the performance of Toni Serivllo that elevates the film.

We are not introduced to Jeb until fifteen minutes into the film. His is introduced by a woman wearing a bra stating happy 65th birthday who includes Jeb’s congratulates in the same sentence as Rome, bridging the connection between the two. Directly after, Jeb turns in accordance with the dance music, with a grin and cigarette, kissed by fellow writer on the check and a woman on the mouth. Before the introduction it takes a while to find Jeb in the crowd but we are well aware by the end of the dazzling scene that he is the center of it. Servillo’s performance of boosting confidence but also vulnerable during certain key scenes such as the funeral allows the comparisons many critics have made to great italian films such as La Dolce Vita, 8 ½, and El Norte.

The excess in the characters are matched by the camerawork of Luca Bigazzi as he establishes right from the beginning that the camera, like the characters, will not stay still. Swooping shots accompanied by operatic music in scenes dealing with religion, death, and memories highlight the larger nature of these themes while the quick cuts, sped up dolly shots and club music gives insights to the lack of intimacy between the wealthy characters.

It is hard to think of criticisms of The Great Beauty, the film is layered with ideas of age, death, friendships, intimacy and love that heighten the attack against elitism into a much more nuanced look into how one gets accepted into the system and the struggle to escape it while acknowledging that need to embrace it. Played in the background of the film is Jeb’s thirst for something new through the mystery of what goes on in his neighbor’s apartment, by the end of the film we get insight into it and it is just as uncomfortable to the point of almost being repulsive as the last of the many party/dance sequences toward the end of the film.