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French Beauty (2005)
Appropriately fleeting
I enjoyed but didn't love French Beauty. There's no question that the featured women are lovely. I appreciated how many of them were open about their looks affecting their careers. It was also a treat seeing early footage of Deneuve, Moreau, and a few other classic actors.
It's just that, for me anyway, beauty is even harder to define than a great song. It seemed like the commentators shared that sentiment to some degree, so much of what was said had that tentative, vague tone to it. It would've been outrageous but livelier (and hilarious) if there was at least one raving egomaniac in the bunch. The closest to it was Sophie Marceau sharing that she used to practice facial expressions in the mirror, knowing what effects they'd have. But even she was pretty cool.
What irked me a lot more than the ambiguous subject was the extra focus on Sara Forestier. For whatever reason - maybe her relative youth? - she wasn't nearly as interesting as the other actors, but got quite a bit of screen time. If I didn't need the subtitles, I would've folded laundry during her scenes.
Salmer fra kjøkkenet (2003)
The kitchen as the home's heart
This film explores how simply friendships can start between two outwardly different people, through a post WWII Swedish kitchen research project. It has wonderful actors who thankfully never hammed it up, and effective cinematography that moved the plot instead of dazzled (again, thankfully). The period Scandinavian jazz and pop score was fresh and never overpowered the story's quiet energy.
There are a few possible mysteries by the movie's end. The final moments could be seen as vague. Did an illness, suicide, or natural death occur? Why would the jealous Grant befriend Folke by the very last scene, or did he? Also, there was one conversation about bear meat that reminded me of the oysters/snails conversation in Spartacus - but maybe I'm reading too much into it!
The best short fiction shows the characters' inner worlds through carefully chosen details and dialogue. Without being talky or ever getting soapy, Kitchen Stories made me feel like I was in that tiny dwelling with Isak and Folke, researching a growing friendship rather than appliance use.
The Baxter (2005)
Elliot...
I thought the actors in The Baxter were well cast. It also has a promising beginning and fun, smile-making finale. The string of relationship mini-horrors were amusing and occasionally charming.
However, it managed to feel longer than its 90 minutes. I know that since the film was made for laughs, it's not essential to get that complex with plot or people. But even knowing the story outcome and being cool with that, I just wanted a few character surprises to intrigue me enough throughout the movie's middle.
Also, I wasn't sure if I had sympathy for Elliot or not. He seemed a bit of an empty shell for someone who is successful, enjoys learning, and is the story's main focus. Even though Elliot's fiancée Caroline might have been settling for him all along, I still ended up liking her more than him.
Don't get me wrong. I don't regret seeing The Baxter. It's just that I've seen funnier and more real (at least in theory) movie dweebs via Napolean Dynamite, Office Space, and even the first Revenge of the Nerds (well, Booger anyway).
Guinevere (1999)
As cheesy as Breezy
Guinevere opens with lovely opening credits showing various body part photos. It soon unveils its plot detail of a nearly 30-year age difference between lovers Connie (Rea) and Harper (Polley). The film conveys a quiet suspense, at least until the final act. Will this particular romance break Connie's sad, Rod Stewart-like dating pattern?
Good performances by all, especially the women. No one does tortured indie girl on the inside/ethereal WASP on the outside better than Polley. Jean Smart, as others here have mentioned, is a scene stealer when she gives Connie a piece of her prickly mind. Gina Gershon and Sandra Oh are on too briefly.
Despite these strengths, I had this nagging feeling I was watching something disingenuous. Someone who looks like Harper never got hit on in college, if ever? Was she that wrapped up in herself so as not to observe others? In a scene where Harper is grabbing coffees from a café counter, a young male employee and an older male customer are checking her out, and she knows it. Nothing about her looks different, except for her more frequent grin and a bright blue tank top. I'm assuming that her new confidence is radiating and that's what's catching guys' eyes, but come on.
Big spoiler: Near the end, alcoholism takes its toll on Connie. So, how to prepare for his death? Gather the ex-girlfriends for a pre-memorial, of course! At least he didn't racially discriminate when choosing lovers; it was just the pesky age thing for him. Soon after, he is given an eye roller of a group photo of the exes, and before he dies Harper describes the afterlife (purgatory?) to him -- complete with visuals that rival a cosmetics ad.
A much better story about a photographer in an odd relationship is Proof, starring Hugo Weaving.