Refugees: Optional, Mandatory
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
CODA (Sian Heder) rated PG-13 112 min.
Opening Chatter (no spoilers): While there are still in-theaters-only-releases I’d like to see (even Free Guy [Shawn Levy] but especially Respect [Liesi Tommy] and The Green Knight [David Lowery]) my concern about putting a heart-operation-recovering-body into an indoor setting with even a decent-sized-crowd during this San Francisco Bay Area rapid rise of COVID Delta cases continues to keep me in streaming-land so I’ll keep trying to find interesting options for home-viewing for you. One success is CODA (Children of Deaf Adults) in which the hearing teenage daughter of an otherwise-deaf-family (Dad, Mom, older brother) always assumed that after high-school she’d just continue with their small-scale fishing business until she suddenly decides to join her school choir, gets active encouragement from her teacher to instead go on to college training for her remarkable voice, setting up an immediate conflict as she’s long been the interpreter to the hearing-world for her family who have little option of replacing her; it’s a great low-key (occasionally explosive) drama, maybe in a few theaters but definitely on Apple TV+. In the Short Takes section you’ll find a more-condensed-review of John David Washington’s latest movie, Beckett, about an American tourist and his girlfriend on vacation in Greece where everything goes as wrong as you could possibly imagine in an action-packed thriller; also in that section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done tonight by this burned-out-BlogSpot-drone—oh, such tedious software!), along with my standard dose of industry-related-trivia.
Here’s the trailer for CODA:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $. To help any of you who want to learn more details yet avoid those important plot-reveals I’ll identify any give-away sentences/sentence-clusters like this:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: Everything here takes place in or near Gloucester, MA where teenager Ruby Rossi (Emilia Jones) spends her early mornings, some after-school time on her family’s small fishing boat that provides their only means of livelihood. That may not be totally unique in this maritime-town (although snotty girls at her school are always ready to laugh at her shy, outsider ways—and occasional bad smells if she doesn’t have time to change from her fishing clothes before classes begin where she often nods off after having worked those sunrise-hours), but one thing that makes the Rossi family unique is Ruby’s the only hearing one, unlike totally-deaf Dad Frank (Troy Kotsur), Mom Jackie (Marlee Matlin), older brother Leo (Daniel Durant), all of whom sign but I don’t get the sense the rest of the Rossi clan even read lips so they’re quite dependent on Ruby to translate what’s going on around them as well as convey their needs to everyone else in the community. One day at school Ruby needs to choose an elective, so on a whim (and intrigued by a guy who’s signing up) she oddly chooses choir, even though she’s hesitant to vocalize much because back in first grade she was laughed at for talking like a deaf person; not surprisingly, when it’s her turn to sing a bit for her teacher, Bernardo Villalobos (Eugenio Derbez), she freaks out, runs away. When next we see her she’s at her favorite lake in the countryside, singing (beautifully) where no one can hear her.
Later, she returns to Mr. V’s classroom, apologizes, does her audition (he’s impressed), is soon encouraged by him to pair up with Miles (Fredia Walsh-Peelo) in a duet ("You're All I Need To Get By") for the school’s choir talent show, but when they perform for him it’s clear they haven’t practiced together; Mr. V. insists they do so (they try at her house but have to stand back-to-back because she’s nervous looking at him). However, their session’s interrupted by the loud sounds of Ruby’s parents having sex ("Afternoon Delight" apparently) so Miles leaves quickly, Ruby’s mad at Frank and Jackie, yet they just laugh it off, Frank defending himself by being attracted to his wife (a former model). At school the next day word’s gotten around about the incident (Miles told one friend, surely one too many), Ruby’s humiliated again and wants nothing further to do with Miles although she continues to take singing lessons from Mr. V. who’s trying to convince her to apply to the Berklee College of Music in Boston, an option she rejects as she assumes her future’s in the family fishing business as a worker but primarily as an interpreter because the family has no other option in that regard (yet, various distractions keep making her late for her lessons so, in anger, he cancels them).
There may not be any Rossi fishing business much longer, though, because all these hardscrabble-fisherpeople of Gloucester are facing new fees/regulations, including paying for an inspector to go along on their catches. As a response to some of this, at a public meeting Frank (as voiced by Ruby) announces he’s going to form a local co-op to directly sell their fish so as to bypass the price-determining-middlemen, but then one day when Frank and Leo are out on the water (Ruby’s not there; in a huff over a family argument she makes up with Miles, goes swimming with him), joined by an inspector, their deafness prevents them from hearing horns and commands from the Coast Guard resulting in Frank temporarily losing his license although it’s restored so he can work to pay off his $2,500 fine as long as a hearing person’s always aboard (the inspector did nothing to help during the incident). Meanwhile, Ruby continues to practice with Miles, they become closer in the process (there’s nothing about his family he cares to be a part of), but when Ruby declares she’s staying with the family business after graduation rather than pursuing college her parents are supportive while Leo’s angry she’s chosen to put aside a fine talent that needs nurturing, sacrificing herself for others.
⇒Ultimately, we arrive at the night of the talent show; Ruby and Miles’ duet goes over very well (they’re easily able to look at each other longingly now), even as her parents have no sense of her song but get caught up in the audience’s positive response. Later that night Frank has her sing it to him so he can sense it by feeling her throat. Following a truce with Mr. V. and her parents’ support, Ruby goes to Boston for the Berklee audition (family sneaks into the balcony to watch) where Miles also tries but flubs by freezing up. Ruby forgets to bring her sheet music, although Mr. V. shows up at the last minute to play piano for her as she sings Joni Mitchell’s “Both Sides, Now,”* which she begins in a nervous, flat manner until Mr. V. purposely hits a wrong chord so she can start again in a much more dynamic manner (signing the lyrics for her family’s benefit) which ultimately leads to her acceptance (financed by generous scholarships, despite her scant history with music). Ruby encourages Miles to visit her (shouldn’t be too hard; Boston’s only about 30 miles from Gloucester), we get the sense her friend Gertie (Ann Forsyth) will become the new interpreter because she’s now romantically linked with Leo, as every tension's resolved, seemingly-stable-futures ahead for all.⇐
*Here's Joni's version (from her 1969 album Clouds), coupled with Emilia's version from the film.
So What? Although the final scenes get a bit sappy here (trying my best to avoid Spoilers) this is a genuinely-heartwarming story which takes the useful step of using deaf actors to play Ruby’s family, including Best Actress Oscar-winner Matlin (Children of a Lesser God [Randa Haines, 1986]) whose career has been extensive in various TV series but rare on the big screen. (Why so many TV writer/producers could come up with a rational reason to include a deaf character in their casts [especially played by a deaf actor, so the character has to match reality as with supporting roles in the impactful Sound of Metal {Darius Marder, 2020; review in our March 18, 2021 posting}] when filmmakers haven’t been able to do the same all that often is just a sad notation on big-screen-underrepresentation so there’s lots of needed-presence here by the Rossi family [with subtitles added to their use of American Sign Language for the benefit of those of us who wouldn’t otherwise be able to interpret their gestures, missing the nuances of their dialogue]). Still, while Matlin offers much in the role of a woman who’s long-suffered regarding her daughter—first, praying at her birth Ruby would also be deaf so that she’d be better able to forge a strong connection with her parallel-disabled-daughter, then fearing for Ruby to leave the family cocoon to pursue a singing career, sensing how devastated the girl would be if she failed in her ambitions—please don’t expect her to be a major presence here because, while the rest of the Rossi clan plays pivotal roles, this is clearly Ruby’s story in terms of her overcoming her own self-imposed-limitations, finding a way to reconcile what she assumes are obligations to a family whose situation prevents them from accomplishing what they need for ongoing-stability without some hearing-help vs. her own need to plunge into a world she knows little about but draws her in, offering much newly-embraced-love for trained singing.
When you parse the plot points precisely you could easily dismiss the easy-answers for the obvious problems (Ruby can get scholarship money for Berklee [despite little previous connection with the world of music, just awe at her vocal ability]; a new interpreter for her family falls into place when Gertie falls for Leo) as being a bit melodramatic (like the last scene where Ruby rushes back to hug her family before going to Berklee [Oops, Spoiler! Sorry, but it's largely unavoidable]), yet overall the sincere, powerful emotions of a teenager trying to find herself while caught between hearing and non-hearing cultures, her deaf family trying to be accepted in a community where they often don’t fully know what’s going on around them, the hard choices that anyone in any family has to make about how far to stray from your homestead, balancing personal dreams vs. perceived obligations all help raise this story to a high degree of success for me, which I'll actively encourage you to explore.
(ASL sign for “I love you.”)
Bottom Line Final Comments: Unlike some others of my "insightful" recommendations over the years, CODA comes with a lot of additional support from both the CCAL (critics at Rotten Tomatoes give it a hefty 96% trove of positive reviews, those at Metacritic are their usual-reserved-selves here but still offer a solid [for them] 75% average score) and the Sundance Film Festival where it won the U.S. Grand Jury Prize, the U.S. Dramatic Audience Award (for fictional films, not overly-expressive patrons), and a Special Jury Ensemble Cast Award, along with Heder’s U.S. Dramatic Best Director accolade. Supposedly that’s led to a theatrical release along with free streaming availability for platform subscribers on Apple TV+, but I find no evidence of it in theaters so if it’s out there somewhere it must really be in “select” venues; nevertheless, it’s easy to see at home, a choice I do hope you’ll make because the performances are outstanding, the deaf vs. hearing depictions are illuminating for those of us who don’t know much about the complexities of these situations (thanks to Heder’s immersion in help from the deaf community, her own willingness [along with Jones] to learn ASL)—as well as this director’s other tasks doing scriptwriter-research into the fishing-industry-realities of Gloucester, which she visited while growing up in nearby Cambridge, MA as she transformed this story from its original setting on a French dairy farm in La Famille Bélier (Éric Lartigau, 2014) which otherwise has the same basic plot. So, with my strong support of adding CODA to your must-see-list, I’ll wrap up with my usual tactic of a Musical Metaphor, to offer a final—aural plus verbal—look at the film under review; in this case I’m going with The Clash’s “Should I Stay or Should I Go” (on their 1982 Combat Rock album) at https://www.youtube.com/watch?v=xMaE6toi4mk (lyrics below the YouTube screen if you care to sing along, in English and/or Spanish) although I admit the song’s about a guy trying to understand if his lover really wants him around anymore while the film’s about a different kind of decision-making on Ruby’s part, yet the key line of “If I go there will be trouble And if I stay it will be double” is appropriate for CODA’s primary conflict, just as the driving pace of the song feels more appropriate to a young person’s intense sense of immediate-conflicts than most of the mellower-tunes I've come up with, so, rock on, dudes!
SHORT TAKES (spoilers also appear here)
An American tourist and his girlfriend are on vacation in Greece when he nods off while driving, causing the car to crash, her to die. After get treatment in a local hospital and help from the police he suddenly finds this same cop and an accomplice shooting at him for no reason he understands so most of the rest of the movie is a wild chase back to Athens; basically, it's a slim story but well made.
Here’s the trailer:
Before reading further, please refer to the plot spoilers warning detailed far above.
(Sorry about horrible photo quality here, especially of April; there was very little to choose from.)
As noted in the above summary, this isn’t a biography of Irish novelist/playwright Samuel Beckett (1906-1989 [Nobel Prize in Literature, 1969; best known for Waiting for Godot, 1953]) nor is it a misspelling of an historical drama about English Bishop Thomas Becket’s conflicts with King Henry II (but do see Becket [Peter Glenville, 1964] starring Richard Burton and Peter O’Toole; TCM Suggestions below offers another look at Henry’s later life: The Lion in Winter). Instead, this is about an American tourist, (no first name noted) Beckett (John David Washington), on holiday in Greece with girlfriend April (Alicia Vikander)—no last name in her case. Told of upcoming political unrest in Athens due to demonstrations by supporters of lefty-oppositionist Karras (Yorgos Pirpassopoulos)—this script’s not big on full names—they’re off to a countryside lodging but are running late after exploring ruins along the way. With assurances he’s awake, she dozes; however, he nods off, jumps a short cliff, crashes into a house, the car now upside down. Beckett briefly sees a young boy and a woman, then frantically pulls himself loose only to find April dead in a pool of blood. Next, he comes to in a local hospital with a broken lower left arm, hardly anyone who speaks English to help him (like me in travels through Europe he doesn’t know the local lingos so when tragedy strikes it’s all the more difficult [no tragedy for me, fortunately]). He finally finds a local police honcho, Officer Xenakis (Panos Koronis), with fluent English, explains the situation—with a discrepancy: he’s told no one lives in that abandoned house—calls April’s parents, leaves them with the impression she’s just in a coma as he can’t even tell them where to come to help their daughter.
Beckett goes on a walk in the countryside back to the scene of the accident, but as he’s in the house, looking at April’s dried blood in the dirt floor, about to engage in sleeping pill-overdose-suicide, a woman (Lena Kitsopoulou) suddenly shoots at him; the "helpful" cop shows up, says it’s all a mistake, encourages him to come out of hiding, only for the woman to shoot him in the upper left arm, then both pursuers attack, guns blazing. He runs away, jumps off a cliff, takes refuge in an abandoned truck. He’s found next day by hunters as one (Andreas Marianos) takes him home, tends to his wound, but the attackers show up so Beckett escapes through a window, on the lam again. Next, he meets a beekeeper-couple who lend him a phone to call the U.S. Embassy in Athens; they can’t come to him until tomorrow so he sets out for the capital, first hitching a bus ride with a school group then boarding a train. However, Xenakis takes the same train (after beating up the beekeepers for information), gets into a struggle with Beckett who accidently uses the cop’s gun to shoot him in the foot so he escapes again. In the town where the train stopped Beckett sees activists Lena (Vicky Krieps) and Eleni (Maria Votti) putting up posters of the kidnapped nephew of Karras, whom Beckett recognizes as the boy he saw when he crashed into the “abandoned” house. They drive Beckett into the outskirts of Athens but stop at a police roadblock; he slips away, takes a subway train to a stop near the Embassy where’s he’s now attacked by a knife-wielder at the station.
⇒He gets away to the Embassy, is aided by staffer Tynan (Boyd Holbrook) who shows him April’s body (sent after the accident), then drives him to where it will all be cleared up, but instead Tynan tries to Taser Beckett, who escapes again, Tynan in pursuit as they run into the Karras rally, then a mall basement where Tynan tells Beckett he’s working with Xenakis and the woman to claim Communists took the kid to discredit Karras’ leftist-allegiances but it doesn’t matter because Karras was just shot at the rally so Beckett’s safe because who cares if he knows they have the kid? Beckett attacks Tynan anyway with an iron rod (kills him?), then sees the woman on the street, follows her to a parking garage where Xenakis is with her. After more fights he knocks out (kills?) both, gets the boy out of their car trunk, tells a bystander he’s the one who should have died rather than April.⇐ While it’s an adrenalin rush watching this non-stop-action (after a quiet opening: the lovers wake from an argument, begin their journey) when I actually recall it here there’s a credibility stretch this not-especially-athletic-guy (a wounded arm to boot) could survive all that trauma against professional killers, but after trying to decipher whatever Washington was doing in Tenet (Christopher Nolan, 2020; attempted review in our November 5, 2020 posting [my one trip to a theater in the last 18 months; I’ve now recorded it from HBO, will watch again more carefully sometime]) at least this plot’s easy to follow (just the ongoing mystery of why Beckett’s an assassination target), suspense is properly sustained throughout, stunts are terrifically staged (which Washington apparently did himself, à la Tom Cruise—he must have been more bruised than I was after having catheters pushed up arteries from my groin to get my new aortic valve in place), the shot-in-Greece locations often yield spectacular scenery, yet I couldn’t help but feel plot particulars were concocted on the fly just to give another excuse for another exhausting escape, there being no particular point to all this except to provide a talented actor with opportunities to pile up complications while distrusting all authority structures, as if he were trapped in a serious rendition of a WB Roadrunner-Wile E. Coyote cartoon.
The verging-on-OCCU wasn’t amused much either, as RT offers 49% positive reviews, MC’s slightly ahead for a rare change with a 51% average score. At least if you’re a Netflix streaming subscriber you won’t have to pay anything so, if you’re looking for some well-produced-escapism, give it a look, just don’t expect to go beneath the surface. For a Musical Metaphor there's The Beatles’ “Help!” (on the soundtrack of that same-named-movie [Richard Lester, 1965]; different audio versions in the U.K. and U.S. releases) at https://www.youtube.com/watch?v=CTsB-llTzyc because that’s what Beckett constantly needs (“And now my life has changed in oh so many ways My independence seems to vanish in the haze”), occasionally finds it, more often has to think/act for himself on a moment’s notice. If the current horrific wildfires in Greece aren’t enough to steer you away from a usually-marvelous-country, then maybe this tale of an unstable political climate might also be useful.
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Thursday August 19, 2021
9:15 PM Tokyo Story (Yasujirô Ozu, 1953) A landmark of Japanese cinema, done in Ozu’s typical style of the camera set at a low angle on the action (what little there is, as scenes move slowly) with limited camera movement; the story unfolds largely through dialogue of an old couple who come to Tokyo to visit their adult children who barely have time for them while their widowed daughter-in-law is much more accommodating. Often considered one of the best films ever it placed in the top 5 of Sight & Sound’s 1992, 2002, 2012 global critics’ polls, came in at #1 in 2012 for the polled directors.
Saturday August 21, 2021
9:15 AM Bringing Up Baby (Howard Hawks, 1938) Quintessential screwball comedy: Cary Grant as an easily-befuddled paleontologist on the verge of finishing a Brontosaurus skeleton and marrying a prim woman we know isn’t a right match especially after he meets a cute, flighty heiress (Katharine Hepburn) who gets him in increasingly-embarrassing situations even as romance develops between them. Only movie I can recall featuring 2 leopards. Somewhat remade as What’s Up Doc? (1972).
9:15 PM The Lion in Winter (Anthony Harvey, 1968) Historical-based drama set at Christmas 1183
at England’s King Henry II’s (Peter O’Toole) château where imprisoned wife Eleanor of Aquitaine (Katharine Hepburn) is released for the holiday, argues with Henry over which son should succeed him, followed by extensive acts of palace intrigue. Won Oscars for Best Actress (Hepburn), Adapted Screenplay (James Goldman), Original Score for a Non-Musical (John Barry). Anthony Hopkins plays their eldest son, Richard the Lionheart; Timothy Dalton is Phillip II, King of France.
Monday August 23, 2021
8:45 AM Anatomy of a Murder (Otto Preminger, 1959) A powerful courtroom drama enhanced by constant twists; you never know what to believe, even at the end with James Stewart defending G.I. Ben Gazzara on a murder charge, a guy who can’t fully remember his actions except retaliation for the victim raping his wife (Lee Remick). Eve Arden and George C. Scott are there too; nominated for 7 Oscars (no wins) but the score by Duke Ellington and Billy Strayhorn won 3 Grammy Awards.
Thursday August 26, 2021
9:00 AM Pillow Talk (Michael Gordon, 1959) A randy composer (Rock Hudson) shares a party line with an interior decorator (Doris Day), then he fakes an identity (ironic, eh?) in order to successfully romance her. While the Hudson-Day romantic comedies aren’t usually considered classic cinema but more about fun-escapism, this won the Oscar for Best Original Screenplay, nominated for 4 others including Best Actress (Day), Best Supporting Actress (Thelma Ritter); a huge box-office success.
If you’d like your own PDF of ratings/summaries of this week's reviews, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: In quick fashion, here are some extra items you might like: (1) Disney+ gets to 116 million subscribers; (2) Movie theaters still facing losses because of COVID; (3) Some theaters are now checking for vaccine proof; (4) Top salaries for movie stars (few women on the list). As usual for now I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can search streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
We encourage you to visit the Summary of Two Guys Reviews for our past posts.* Overall notations for this blog—including Internet formatting craziness beyond our control—may be found at our Two Guys in the Dark homepage. If you’d like to Like us on Facebook please visit our Facebook page. We appreciate your support whenever and however you can offer it!
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Here’s more information about CODA:
https://www.imdb.com/title/tt10366460/reference (best I could do for an official site)
https://www.youtube.com/watch?v=OyjuNfTIPiU (17:52 interview with director Sian Heder
and actors Marlee Matlin, Troy Kotsur, Daniel Durant, Emilia Jones, Eugenio Derbez)
https://www.rottentomatoes.com/m/coda_2021
https://www.metacritic.com/movie/coda-2021
Here’s more information about Beckett:
https://www.netflix.com/title/80994937
https://www.youtube.com/watch?v=mEZNDmQOtLw (4:56 actor John David Washington,
director Ferdinando Cito Filomarino, and producer Luca Guadagnino discusses the main
character and others in the movie in the context of the plot)
https://www.rottentomatoes.com/m/beckett
https://www.metacritic.com/movie/beckett
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest,
a never-changing-reality even as the moon waxes and wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never get tired of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
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