Song To Song

GoMovieReviews Rating:
MSong To Song

Directed and Written by: Terrence Malick

Cinematography: Emmanuel Lubezk

Produced by: Sarah Green, Nicolas Gonda, Ken Kao

Starring: Ryan Gosling, Michael Fassbender, Natalie Portman, Rooney Mara, Cate Blanchett, Lykke Li, Val Kilmer.

Song To Song is a series of moments captured up close and pieced together to create a love story.

There’s minimal dialogue with the thread woven by the voice-overs of the main characters: BV (Ryan Gosling), Cook (Michael Fassbender), Faye (Rooney Mara) and Rhonda (Natalie Portman).

I had to find my way out of you, to life.

It wasn’t an easy film to watch as the many moments are made through different shots, angles and movement, switching perspectives to show light casting shadows, to leaves swirling in water; the affection of lovers through hands intertwined, socked feet being bitten, a smile or thoughts voiced-over a stare.

I tried to be kind.   It only made me colder.

Director and writer Terrence Malick has reached for the stars with this film.  Creating something aesthetically beautiful but also self-conscious.

The poetic narration of the characters worked well with imagery but the dialogue spoken felt fake and forced.Song To Song

It was like the camera was left to roll, then all the good bits taken and edited into a story that was decided later.

By making a film this way, there’s natural moments of wonder and laughter but it also felt like the actors were self-aware.

Ryan Gosling shone as BV – the warmth of this nature and ready grin making me almost jealous of Rooney Mara as Faye.  I really didn’t like her character at the beginning of the film – that coy, little girl act, grating.

But as the film progressed, I was immersed into the story gaining a better understanding of the character, Faye.

The film’s loosely based on BV making a record deal with the super successful and rich party-boy, Cook.Song To Song

They travel around (with Faye in toe, of course) to places like Mexico and many other different houses and spaces including music festivals.

There’s cameo appearances from the likes of Anthony Keidis, Iggy Pop and Pattie Smith as themselves.  Yet, BV, Cook and Faye kept in character (somewhat), trying to keep that loose storyline – the narrative sacrificed to include some cool footage into the film.

I’m all for the aesthetics but it made some parts of the film unnecessary as the fluidity of the story was lost to include the beautiful and poetic.

Cate Blanchett and Natalie Portman make an appearance on the fringes of the film, the story losing itself amongst other people, only to find itself again with BV and Faye, making the journey moving, annoying, boring and sometimes completely absorbing.

It’s a different kind of movie.  I think the film has taken itself too seriously and yet, not seriously enough.

Malick has created a film like an art installation.  Like Andy Warhol filming actresses while interviewing them as they did whatever they wanted as long as it was interesting.  There’s the same feel here.  But revolving around the theme of sex and love – some parts worked, some didn’t.

I appreciated the reach and push made of this stellar cast.  I just wish it didn’t feel so pretentious.

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A Ghost Story

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Written and Directed by: David Lowery

Producers: Toby Halbrooks, James M. Johnston, Adam Donaghey

Cinematographer: Andrew Droz Palermo

Starring: Rooney Mara and Casey Affleck.

A Ghost Story invites us into the tender space of young love shared by Rooney Mara and Casey Affleck and the tragic aftermath of grief as a fatal car crash leaves C dead and transformed as a ghost throughout the movie.

Landlocked by love in one state of being and one place, C remains beneath a sad and forlorn sheet with cut out holes for eyes, to witness time and his lover change without him.

Lowery (Pete’s Dragon, Aint Them Bodies Saints) had been wanting to tell a ghost story for years with the classic iconography of the bed-sheet ghost and with Affleck as no ordinary ghost he achieves that.

Lowery sets the visual tone that this is not a traditional motion picture by shooting the film in the 1:33 aspect ratio, meaning the image width is only slightly greater than its height.  This film technique enabled Lowery to create a towering presence of the shrouded ghost, a still and dominating presence within each scene.

The cinematography is pared back with the glare and grit of everyday realism and it is in the familiar and the known that Lowery captures us.
Through doorframes – a fascination of Lowery’s – both dark and functional, they frame Affleck and Mara in ordinary rooms of no import, but it is in their lack of adornment where the intimate confrontations and revelatory keypoints are revealed without massive movement or violence.

There is something to a movie with long stretches bereft of dialogue, we remain in the stillness as the ghost does and without distraction we sink further into the tragedy of love lost without goodbye and time moving forward where the loved one occupies no space only in memory.

In an unforgettable scene, Mara’s luminous distinctive features convey all the profound grief you thought you’d need dialogue for. In isolation, she stuffs an entire family size chocolate pie in a single four-minute take. The body of food is ill equipped to replace her loss of C.

In a later scene, we witness the profound pathos of love and of lost hearts craving connection through the ghost’s presence.

When M finally leaves their home, she embeds a lover’s note into a door frame. The repetitious scratching by a ghost without hands is both tragic and beautiful and as he seeks to unearth the note oblivious to the passage of time without him, we are reminded his sense of identity is derived from his attachment as the beloved.

As I left the cinema I was unsure how I felt about the movie and had to sit with it for a while – in fact a few days – as I stepped out into the noise and the bustle of my ordinary world.

I felt haunted by the film’s imagery of tender grieving and the paradox of grieving a love torn apart by unforeseen tragedy and the living with love separated from the adored one.

Through the art of film Lowery poses the aesthetic as a response of grief and catastrophe.

A Ghost Story penetrates as a poignant reminder that the blessing of our good luck is to sit in witness to an event that is possible to each of us.

Our shared humanity wants to vouch safe the journey of love and for it not to leave us ill-prepared for the space that remains in the absence of the loved one.

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