Dandy Cat

Drive was written by Hossein Amini as an adaptation of the novel of the same name by James Sallis, and was directed by Nicolas Winding Refn. It was released in 2011. It was produced by Bold Films, Oddlot Entertainment, Marc Platt Productions, and Motel Movies. The title designer was Jay Johnson.

Stunt driver by day and getaway driver by night, the character of Driver, played by Ryan Gosling is a force to be reckoned with. Seriously, don’t make the mistake of crossing him. After falling for his next-door neighbor, Irene, played by Carey Mulligan, he finds himself forced into violence when her husband, Standard, played by Oscar Isaac, is released from jail. Standard owes some powerful people money, and the only way to keep Irene and her child safe is for Driver to assist in a pawn shop robbery. When things go south during the heist, Driver has to rain vengeance down on anyone who means to harm the people he cares for.

What a strange sequence of titles this film employs. Sure, this is one stylish as hell movie, but the bright pink, ‘80s-inspired look of that text seems so incongruous to the rest of the story. It’s a conscious choice on the part of the director to go with something so dramatic and eye-catching. Titles like these don’t happen by accident. However, aside from the throaty roar of the car chase sequences and the gruesome violence, this is a fairly quiet film. Its characters don’t demand attention, save for Albert Brooks and Ron Perlman. Most of the interactions between Driver and Irene are peaceful and fun (that is, until the horrifying scene in the elevator when Driver beats an assassin to death). Nothing about these two characters screams “look at me!” quite like those titles do.

Pairing such flashy titles with a couple of shy, introverted characters serves the film well, though. It keeps the viewer on edge, and always wondering what the film is going to surprise you with next. Make no mistake, there are some surprising moments to be had here. The sweet looks that Driver and Irene share will not prepare you for how gruesome some moments are. It shocked me when I saw it, so much so that I considered it a revelation by the end of its running time. I ended up watching all of the credits in the theater because I was unable to move from my seat for a long time. I had no idea a film could be this way, and it’s still one that amazes me.

For the cinematography fans out there (like me!), please enjoy the video that Tony Zhou of Every Frame a Painting made for Drive. It examines cinematographer Newton Thomas Sigel’s use of a quadrant system, which breaks up the frame into four distinct zones of focus. It is a phenomenal video that examines how many different stores can be told within a single shot. The artistry that went into this film remains impressive. 🎞

Rebecca was written by Robert E. Sherwood and Joan Harrison, and was directed by Alfred Hitchcock. The film was adapted from the novel of the same name, written by Daphne Du Maurier. It was released in 1940. The film was produced by Selznick International Pictures (which had been riding high after their release of Gone with the Wind the previous year).

Newly wed to Maxim de Winter, played by Laurence Olivier, the new Mrs. de Winter, played by Joan Fontaine, moves into her husband’s sprawling estate, the Manderley house. She’s given a cold greeting by the current staff of the house, and especially by the severe Mrs. Danvers, played by Judith Anderson. Maxim’s deceased former wife still lives deep in the hearts and minds of everyone. They’re not happy about the new Mrs. de Winter taking up residence in the former home of the woman they all loved (albeit some more so than others). Mrs. de Winter faces scorn and mockery, driving her to tears and despair. However, there’s a great mystery surrounding the titular character: was her death truly an accident, or were there more nefarious actions that caused her demise?

I saw a review of this film on Letterboxd that made an effort to explain that while this film can indeed be seen as a tragedy, it’s necessarily not for the reason most people think. The young Mrs. de Winter is surely not having an ideal time at Manderley. Who would want their marriage to include a distant husband and his callous house staff? She’s made to be the one who’s tormented at great length. However, the reviewer posits that we should take greater notice of the pain that Mrs. Danvers is feeling. Indeed that the unrequited love Mrs. Danvers held for Rebecca was also a great tragedy in this film. User “nathaxnne” writes:

We only see Rebecca through the eyes of those who remember her. It is important to not privilege one remembrance above any other, but Mrs. Danvers' recollection burns most fiercely, her love not only surviving death but allowed for the first time to become one with the current manifestation of Manderlay [sic] in its decor, its routine, a shrine to her beloved, and finally joining her in death.

I found this to be a fascinating take on the film. So much of its running time is spent trailing Mrs. de Winter as she’s tormented by the “ghost” of Rebecca. She’s forever looking for a peaceful, joyous life with her new husband, only to be met with indifferent or distracted responses. We’re made to relate to her plight and detest her poor treatment at the hands of Mrs. Danvers. But we seldom do anything without a reason, and Mrs. Danvers is acting on the pain and heartbreak she feels over the loss of the person she loved. Maxim is all too willing to leave Rebecca in the past, and for good reason, but his desire is not shared by everyone. Sadly, what results is summed up in nathaxnne’s review:

Rebecca is a ghost story where those who are left behind are haunted, even in the potential absence of a spectre.

This is a fascinating film, and easily one of Hitchcock’s best. It deserves to be seen by more people and shine as brightly as any of his best-known works.

The Criterion Collection interviewed Oscar-winning VFX artist and film historian, Craig Barron, for their recent re-issue of this film. This video was a fun and fascinating look at how they achieved the vast and impressive shots of the great Manderley house, as well as providing a quick snippet of Hitchcock’s moviemaking history. Enjoy! 🎞

The Fountain was written and directed by Darren Aronofsky. It was released in 2006. The film was produced by Protozoa Pictures and New Regency. The title card is a shot from the film with no discernible title designer.

Spanning three disparate times and places in the universe, The Fountain tells the story of conquistador Tomás Verde who has been tasked by his queen, Isabella, to find the Tree of Life. It’s located deep in Mayan territory, and she believes it will be the key to saving her kingdom. It also tells the story of Tom Creo, a modern surgeon who is desperately trying to find a cure for a brain tumor that’s ravaging his wife, Izzi. The third story is that of Tommy, a futuristic space traveler who is guiding a tree toward a dying star. He believes that its magnificent explosion will bring back his long lost love. Hugh Jackman plays all three versions of Tom, and Rachel Weisz plays his counterpart.

By this point in my life, I’d seen Aronofsky’s previous film, the disorienting, beautiful, and despairing Requiem for a Dream. I don’t think I’d ever seen something so full of style and confidence. How remarkable that it was only his second full-length film! When The Fountain came out, I knew it was something I had to see. I’m still shocked, all these years later, that it didn’t do very well, and is seen as one of his weaker works. I still believe that many of its detractors weren’t ready for its winding narrative, or that it demanded critical viewing and not just simply blank witnessing.

I could hardly walk out of the theater after I saw it; I may have instead stumbled out into the bright sunlight. It filled my head with so many impossible questions. I was in complete awe of the production and the performances. Imagine my surprise that its budget amounted to what the industry now affords to a small independent film. It’s still something that gives me chills as I watch it. It asks such huge questions, like to what lengths would you go to save the people you love and how do you view your purpose in this world? It demands a lot of you.

This one has gained a quiet, yet passionate fan base. It deserves more, and I implore you to watch it with an open heart. 🎞

Soul was written by Pete Docter, Mike Jones, and Kemp Powers, and was directed by Pete Docter and Kemp Powers. It was released in 2020. The film was produced by Walt Disney Pictures and Pixar Animation Studios. The title designer was Laura Meyer.

A down on his luck jazz musician named Joe Gardner, voiced by Jamie Foxx, gets the opportunity of his lifetime. He’s invited to play in The Dorothea Williams Quartet, and would have been able to if he didn’t immediately fall into an open sewer and die. But he doesn’t want to miss out on his big break, so he escapes the “Great Beyond” and falls again into the “Great Before.” Joe is mistaken for a mentor to the new souls in the Great Before and assigned to the incredulous Soul 22, voiced by Tina Fey. At that time, he has no luck in helping them find a passion. With the help of the eccentric soul, Moonwind, voiced by Graham Norton, Joe locates his body back on Earth, but accidentally takes 22 along with him. Instead of returning to his body, 22 lands in it, and Joe inhabits the body of a nearby cat. The pair need to find a way to get Joe back into his body before his big show that night.

Gosh, there’s a lot that goes on in this film. It’s hard to keep the synopsis condensed. Suffice it to say, this film has a lot of depth. It is 100% worth seeing. I was enamored of Onward, Pixar’s other 2020 film, so I was hopeful that Soul would be able to match the bar that the other one set. After watching it, I can say that Soul is undeniably the better film, and I loved Onward. I may not be a jazz musician, but I think anyone, especially those with an artistic inclination, can relate to both Joe and 22. We’re all looking for our purpose in life. We’re all looking for our calling. The lucky ones are able to find it. Those who can help others find their calling are truly special people. My goal in life is to find the satisfaction that Joe achieves at the end of this film. Do I need to be rich and famous? No. I mean, I wouldn’t mind being rich, but that’s not what’s going to make me happy. Feeling content with my life, and being able to inspire others, is a journey worth going on.

I’d love for you to take a look at the opening sequence.¹ The combination of music from Trent Reznor and Atticus Ross² with the stark, black and white animation gives it a chilling, lonely, awe-inspiring feel that completely took me aback. Witnessing this instantly sold me on the movie. I had to rewatch this bit several times. I was thrilled to be seeing a true piece of art. 🎞