Weiner-Dog (2016)

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Today’s Cinema Adventure originally appeared in

The Pride L.A.

Todd Solondz doesn’t make movies to offer you an escape from your problems; he makes movies to confront you with them.  Ever since his 1995 breakthrough, “Welcome to the Dollhouse,” he has repeatedly offered up grim, uncomfortable stories of the dysfunction lurking just beneath the banal surface of suburban American life.  His films are variations on the interconnected themes of failure, depression, and emotional isolation.  Not exactly the stuff blockbusters are made of.

Yet the quirky writer/director has developed a loyal cult following who continue to be mesmerized by his sardonic vision of the world and the broken, faltering lives of the people who live in it.  Indeed, there is an almost masochistic fascination to these sad little fables of modern life, not unlike that can’t-look-away feeling you get when passing a gruesome accident scene on the highway.  Coupled with this morbid appeal is his tendency to feature recurring characters in his films (usually portrayed by different actors) alongside the new ones.  The desire to see what has happened to some of these familiar figures (and the hope that they have somehow managed to improve their dismal lives) is undoubtedly key in keeping his fans coming back for more, and it provides a major hook for the filmmaker’s latest effort, “Weiner-Dog.”

Those familiar with “Dollhouse,” which remains Solondz’ most popular and successful work, will immediately recognize this title as the nickname bestowed on that film’s pathetic anti-heroine, middle-schooler Dawn Wiener.  Though clearly intended to invoke that connection, and though that much-beloved character does indeed make her long-anticipated return here, in this case the name refers to a new central figure- a dachshund who becomes the pet of four different, unconnected people through the course of her life.

First, she is gifted to a young cancer survivor, Remi (Keaton Nigel Cooke), providing the boy with a brief respite from the stark home environment created by the antagonistic and seemingly loveless marriage of his affluent parents (Julie Delpy and Tracy Letts).  Then, she is adopted by the now-adult Dawn Wiener (the gifted Greta Gerwig)- still awkward and desperate for affection- who takes her along for the ride as she accompanies an old schoolmate on a road trip.  Changing hands again, she becomes the pet of Dave Schmerz (Danny DeVito), a has-been screenwriter barely clinging to his job as an unappreciated teacher at a film academy.  Finally, she ends up as a companion animal for Nana (the always-stellar Ellen Burstyn), an elderly and misanthropic invalid who receives a surprise visit from her long-absent granddaughter, Zoe (Zosia Mamet).

That’s it.  The dog connects the segments by her presence, but otherwise these are stand-alone vignettes, composed around Solondz’ usual themes and exploring the various ways in which human beings treat each other- and themselves- very badly.  As anyone familiar with the director’s work would anticipate, there’s not much hope to be found in these stories, and where there are glimmers of it they are subverted by the surrounding circumstances; and yet, the film has a strange and terrible beauty.

This is the hallmark of Solondz’ work; he shows us life at its cruelest and most demeaning- almost always with the explicit qualifier that it is we ourselves who are responsible- and yet he makes it somehow lovely.  He also makes it darkly funny; he is, above all, a social satirist whose stunted, minimalist dialogue conveys both depth of insight and an arch sense of ironic humor that revels in making us laugh at the things which most disturb us.  It might be argued that the laughter is a defensive reflex, a release of uncomfortable tension; this may be true, but it’s an authentic response, nonetheless.

Cut from the same cloth as his earlier films, this is perhaps Solondz’ most elegantly-made work to date.  Cinematographer Ed Lachman delivers a low-key study in composition that subtly elevates the aesthetic and allows us just enough of a cool perspective to distance ourselves without being able to completely detach.  That’s important, because Solondz wants us to reconnect with the primal emotions- fear, shame, guilt, loneliness, resentment- within us all.  He warns us that if they are left in the darkness to be stoked by our failures and losses, they can make our lives like those he shows us on the screen; those lives might seem absurd, exaggerated, and extreme, but he never lets us believe they are anything other than truthful.  Brutally truthful.

For non-Solondz-fans, it should be noted that “Weiner-Dog” (like all of his work) is likely to put off many viewers.  It’s bleak and unrelenting, with a pall of despair that hangs over it from beginning to end.  Animal lovers, especially, should be warned to consider carefully before seeing it; for the sake of avoiding spoilers, I’ll just leave it at that.

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The Jungle Book (2016)

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Today’s Cinema Adventure originally appeared in
The Pride L.A.

Rudyard Kipling was a product of his era.  An Englishman born in Colonial India, he grew into a prolific author and poet whose canon was informed by his childhood experiences there.  Though his literary gifts were undeniable, and much of his work is still widely read more than a century later, he has come to be seen as a champion of British Imperialism.  The world view of white-privileged conquerors, with their assumption of racial superiority over the indigenous populations they subjugated, is deeply embedded in the fabric of all his stories- including the much-beloved children’s tales for which he is most remembered today.

Needless to say, in a modern world keenly aware of the issues surrounding race, this makes him a controversial figure.  He is regarded by many as an unapologetic racist whose writing, even at its finest, was little more than propaganda for the cause of white supremacy.  Others vehemently insist that he was a humanist working from within the system to illuminate both the noble and ignoble traits of all people and thus promote a more egalitarian mindset.  Arguments and evidence are plentiful in support of either side, as well as of the myriad viewpoints which lie somewhere between those two poles.

Of course, the majority of modern moviegoers are unaware of this literary debate, which is undoubtedly why two major studios have both developed family-friendly blockbusters based on the most well-known of Kipling’s stories: “The Jungle Book.”  The first of these, directed by Jon Favreau from a screenplay by Justin Marks, is the Disney studio’s latest effort to remount one of their animated classics as a live-action film for the 21st Century generation.

Their previous version- the final film personally overseen by Walt Disney himself- was released in 1967, and though it has become a cherished favorite to those who grew up with it, at the time it was heavily criticized for taking Kipling’s rather solemn original and turning it into a rollicking, jazz-infused comedic showcase for a star-studded cast of voice talent.

This time around, Marks and Favreau have doubled down on that same approach, while also expanding the basic story framework to include elements from the Kipling tale (or rather, tales- what we have come to know as “The Jungle Book” is actually derived from several short stories concerning the man-cub, Mowgli, and his adventures in the jungle with his animal mentors).  The result feels like a satisfactory blend, a best-of-both-worlds crowd-pleaser which captures the serious tone and allegorical flavor of Kipling while still delivering the good-natured hi-jinks expected from a studio known for its fun-for-all-ages romps.

It’s also a technical masterpiece.  The use of CGI and performance-capture technology has yielded a breathtaking visual experience, giving us a lush and majestic experience of the Indian wilderness as well as remarkably believable depictions of the animals which comprise most of the cast of characters.  This latter element also benefits from superb vocal portrayals by the likes of Ben Kingsley, Scarlett Johansson, Idris Elba, Christopher Walken, Lupita Nyong’o, and the always-welcome Bill Murray.  Perhaps most importantly, newcomer Neel Sethi gives an on-point performance as Mowgli, a remarkable accomplishment for a young actor whose work took place on a soundstage far removed from the world on display in the finished product.

Yet for all its excellence, this new “Jungle Book” feels somehow overdone.  There’s a “bigger-is-better” philosophy at play which detracts from its meticulously-constructed authenticity; a larger-than-life quality may be appropriate to the material, but is it really necessary, for instance, for King Louie to be the size of King Kong?  Although Marks’ screenplay does a good job of underlining the humanistic parallels with the animal kingdom, the sincerity of his intentions is steamrolled by heavy-handed execution, perhaps most tangibly in the manipulative orchestral swellings of John Debney’s score.  And on the subject of music, the inclusion of the best-known songs from the 1967 film not only seems perfunctory, but also jarringly incongruous within the realistic environment created to evoke the period and setting of the story.   .

These observations are, of course, likely to be immaterial to most of Disney’s target audience- perhaps rightly so.  After all, whatever his socio-political philosophies may have been, Kipling wrote his Mowgli stories to entertain, and “The Jungle Book” certainly succeeds in doing justice to that purpose.  Still, one can’t help but wonder how much richer it could have been made by a subtler hand, one that might have allowed for a bit of reflection on how to reconcile our modern sensibility with the more troubling issues contained in an iconic tale that, like it or not, is deeply ingrained into our cultural consciousness.  Perhaps we will find out in two years, when Warner Brothers releases their take on it.

Until then, this one will do well enough.

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