ScreenFish

where faith and film are intertwined

Alan Cumming

Marlowe: Neeson Digs up the Echoes of the Present

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In a world where right and wrong are blurred, is the truth even worth knowing?

Set in late 1930?s Hollywood,?Marlowe?tells the story of Philip Marlowe (Liam Neeson), a street-wise detective who?s just trying to survive in the big city. Marlowe is hired by wealthy heiress Claire Cavendish (Diane Kruger), daughter to faded starlet Dorothy Cavendish (Jessica Lange). Claire believes that claims of her deceased lover?s death are ?greatly exaggerated? and request for Marlowe to look into his disappearance. However, along the way, Marlowe discovers that the truth often lies under a web of deceit and danger lurks behind every corner.

Directed by Neil Jordan, Marlowe is a love letter to classic detective noir films of the post-WWII era. Willing to dig deep into the sewage of the rich and powerful, Philip Marlowe is one of the great characters of cinema history. A simple man who?s ?just trying to make a buck?, Marlowe has little interest in fighting for the truth out of any sense of valour. Instead, he?s not shaken by the evils of Hollywood but will uncover the truth if you pay him enough.

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Somewhat ironically, this is an often brightly-lit film for a genre that traditionally revels in the shadows. However, Jordan seems to use this to his advantage, highlighting the fact that the light can hide as many secrets and lies as the darkness. Despite the fact that the pacing feels off at times, Marlowe is a lot of fun for fans of the genre as it digs up the evils that exist in plain sight.

In many ways, Marlowe is a vast departure from the type of stories that Neeson has become known for over the last decade. This is a story where action is secondary to the mystery at hand so fans expecting the trademark ?Neeson bloodbath? will likely be disappointed. In fact, even though he will if he must, Marlowe bawks at the opportunity to get his hands dirty with violence. (At one point, after a brief encounter, Marlowe growls that he?s ?getting too old for this?) 

Still, with his trademark snarl, Neeson is clearly enjoying the opportunity to play the iconic private eye. Rather than high-octane action, this is a much slower burn of Neeson who actually looks like he?s enjoying the slower tempo and heavy mystery elements. As a result, there?s a certain joy watching his hulking physique skulk around in Marlow?s gumshoes. (In fact, with a solid supporting cast of Hollywood veterans like Lange, Kruger and Alan Cumming, performances across the board are enjoyable, even in moments when the script lets them down.)

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But what makes Marlowe interesting though is its timing. Coming at a time when Hollywood seems to uncover the scandals of powerful men every day, the film feels more current than one would expect. Even though the film is not a specific indictment of modern Hollywood, it still feels as though it echoes the realities of today with the reveal of top executives involved in scandals and backroom deals. Drugs, prostitution and blackmail are all in a day?s work for Marlowe?s vision of Tinseltown as everyone has their hands at least a little bit dirty. (?Everyone has their secrets,? we?re repeatedly reminded.) 

This is a world where right and wrong blur together into a very messy mix and Marlowe is just trying to survive within it.

Though it may not be one of Neeson?s greatest roles, one can?t help but enjoy this affectionate take on the genre. Leaning into the past, Jordan and his team clearly revel at the chance to play in their cinematic sandbox. At the same time though, the film also reminds us that the shadows of the past still exist in the corners of Hollywood to this day.

Marlowe is available in theatres on Wednesday, February 15, 2023.

My Old School: School Days and Second Chances

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Set in 1993, My Old School tells the story of Brandon Lee, a 17-year-old fifth year Canadian who became a student at Bearsden Academy, a high school near Glasgow. Brandon was a model student who was on the way to becoming a future doctor. However, in reality, everything about him was a lie. Strangely, Brandon?s real name turned out to be ?Brian McKinnon?, a 32-year-old man who was not from Canada at all.

When the story broke, ?Brandon? quickly became worldwide news. After all, why would a grown man want to pose as a teenager unless something sinister was behind it? My Old School details the life of Brian (played here by Alan Cumming), as he attempts to relive his glory years by becoming the popular kid once again. More than this though, his hope was to achieve his dream of enrolling in university for medicine, something that Scotland will not allow anyone over 30 to do. Directed by Jono McLeod, School interviews present school faculty, classmates and, of course, ?Brian? himself for their perspective on the story.

More importantly though, the film offers a unique look at what a lot of us would love to have in our lives: a second chance at life. With age and experience, few people would pass up a chance to redo everything that they know now. In the case of Brian, he was able to do just that. Even though he was living a lie, Brian was able to have cool friends, get the grades he wanted, play lead in the school show, go on the vacations he wanted and even get into the University of Glasgow to study medicine.

Overall, My Old School has a sense of sadness about it, especially for Brian. Whereas one might judge him for his actions, it seemed that he truly only did what he did in order to make something his life. Liked by those around him, his classmates still have a fondness and admiration for him to this day. 

My Old School is screening at HotDocs ?22. For screening information, click here.

TIFF17: Battle of the Sexes

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What happens when one justice isn?t enough?

Battle of the Sexes recounts the events that led up to the 1973 tennis match between retired all-star Bobby Riggs (Steve Carell) and champ in her prime, Billie Jean King (Emma Stone). However, this particular ?sports film? has very little to do with actual sports, choosing instead to focus itself on the story around the match rather than the match itself. Coming at a time when women were beginning to make strides in their right for equality, Riggs? challenge to King for an exhibition tennis match quickly became a lightning rod for conversation around gender issues.

Still, the film is acutely self-aware and knows what it wants to accomplish. By de-emphasizing the sports aspect of the film, the film allows King?s backstory to take center-stage. In doing so, Dayton and Faris focus their lens on King?s journey as a feminist trailblazer and an oppressed homosexual, giving the film a much-needed dramatic tone. Because this particular tennis match had more to do with women?s struggle against injustice than it did world rankings, the decision to emphasize King?s journey allows the film to ask modern questions, despite its ’70s look. Given that the results of the famous tennis match aren?t nearly as compelling as the context itself, the film carries with it a sense of inevitability.? (For example, when King storms off after hearing some of Riggs? comments, Gladys claims that she is merely running towards her ?fate?.)

Through King?s journey, the film determines that the true battle of the sexes was (is?) the fight for women to be considered equals on the pro tennis circuit. Seeking equal pay to the male stars, King and her followers are forced to fight male stereotypes at every opportunity.? Interestingly, while Riggs provides the primary example of these ideals, King identifies former boss Jack Kramer (Bill Pullman) as the true threat. In essence, King recognizes that, while Bobby preaches ?male chauvinism,’ he also holds few genuine convictions in regards to the role of women. However, in Jack, she recognizes a deeply-embedded conviction regarding female inferiority. (?Bobby is a clown, but you, Jack, you actually believe this,? she protests.)? By accepting Rigg?s challenge, it?s this heart of injustice that King believes she?s attacking on a cultural level (as represented by Jack).? In moments such as these, the dialogue feels both past-tense and all too current as well.? (After all, it was only recently that we have heard of the differences in pay scale within the film industry itself.)

Further, however, the film also serves as a double-edged sword in its war on injustice by juxtaposing King?s battle for women?s rights with the cultural obstacles that came with her sexuality.? As further inroads are being made regarding respect for women?s freedom, King?s relationship with her ?hairstylist? feels like a prison, as she struggles to keep it from the public eye. In this manner, the film shows its hand of modern-day politics by establishing multiple support systems around King, ranging from team wardrobe consultant, Ted Tinling (Alan Cumming), to her [somewhat stunned] husband, Larry (Austin Stowell). (?Don?t worry.? One day a time will come when you can love who you love,? Tinling pines.) Here, the film balances its victorious tone with a reminder that, with every battle won, there remains another on the horizon.?

While the film doesn?t label the church directly, the film uses Margaret Court as a representative of more judgmental attitudes that have been presented by religious conservatives. (Now retired, the real Court is an outspoken pastor with conservative values.) Still, although?Battle may use Court as an isolated ?villain?, the divisiveness and oppressive views she represents are far broader on a cultural level. As a pastor, it pains me to see grace lost in conversations of differences in the name of self-righteousness. Even in moments where there is disagreement, the responsibility of the church is to love openly and freely in a manner that provides hope and restorative community. That is who Jesus is.

In light of this tension, Battle of the Sexes prompts us to recognize how far our culture has come but also reminds us how far we have to go.