“ ‘I Am’ … I Said to No One There”
(from lyrics of Neil Diamond’s "I Am ... I Said" [on his 1971 album Stones])
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.
“You see, you can’t please everyone, so you got to please yourself.”
(from "Garden Party" by Rick Nelson and the Stone Canyon Band, 1972 album of the same name)
Causeway (Lila Neugebauer) rated R 92 min.
Opening Chatter (no spoilers … or elections commentary): Once again I’ve passed up the option of venturing into a movie theater to see “The Rock” starring as a(n ambiguous at best) superhero in Black Adam (Jaume Collet-Serra), maybe facing Superman in a future duel—but that didn’t deter a good many others as its northern North America haul of $18.3 million last weekend kept it in place at #1 for a third week (total gross on this side of the oceans is about $138.4 million, worldwide $323.1 million). I guess I could follow a friend of mine by attending a weekday 10pm screening where I’m not likely to encounter much of an audience, but with COVID variants and the flu on the rise again, I can wait (even as it will pain me to postpone the opening-this-coming-weekend Black Panther: Wakanda Forever [Ryan Coogler], but that will probably be packed even for late night screenings, so, bring it on, Disney+, sometime in our mutual future); therefore, as usual, a-streaming I will go, which once again led to worthy results I’m glad to share with you. First off, we have Oscar-winner Jennifer Lawrence as a wounded G.I., home in New Orleans from Afghanistan but with nothing better in her life than to keep hounding her doctor for a clean-enough bill of health to allow her to sign up for combat again, although she does start a tentative friendship with a local car mechanic who’s also got his own version of past misery to deal with. This is a quiet drama with no great breakthroughs for either of the principal characters yet seems to be effective in showing the ongoing grind damaged people must push through on a daily basis; you may find this in just a few theaters, although it’s easily acquired as a free option if you’re an Apple TV+ subscriber.
As I’ve noted previously on occasions when it happens, Film Reviews from Two Guys in the Dark sometimes gets requests from the truly independent realm of filmmaking for us to take a look, offer our response to cinematic experiences you’re not likely to hear much about otherwise. That’s the case again this week as the director of a great documentary on some specific transgender folks contacted me with an offer to explore her film, which I’m very glad that I did. As I’ll detail later, you can find it for a cheap rental on a variety of streaming sources, so I’ll encourage you to do so; however, I won’t be providing any Spoiler alerts in that review because you need to know about everything this film has to offer, with a full knowledge going in not likely to spoil what you’ll encounter when you choose to watch it. Also, here are links for the schedule of the cable network, Turner Classic Movies, which provides a wide selection of older films with no commercial interruptions and the JustWatch site which also offers a wide selection of options, for streaming rental or purchase. If you'd want to learn what reigned at the domestic (U.S.-Canada) box-office last weekend, go here.
Here’s the trailer for Causeway:
(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 $ (as well as recognizing those readers like me who just aren’t that tech-savvy). To help any of you who want to learn more details yet avoid these all-important plot-reveals I’ll identify any give-away sentences/sentence-clusters with colors plus arrows:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: Lynsey (Jennifer Lawrence) was a U.S. soldier in Afghanistan when the truck she was driving in a small convoy was hit in an enemy attack, leaving her with a serious brain injury, plus the horrible last memory of the man riding with her in flames as she passed out. First we see her struggling to regain basic mental understandings and physical activities, aided by caregiver Sharon (Jayne Houdyshell)—surnames aren't a big part of this plot—then Lynsey’s back home in New Orleans, going through therapy with neurologist Dr. Lucas (Stephen McKinley Henderson); however, she see him only in her quest to be pronounced fit for redeployment, not due to some patriotic desire to subdue the Taliban (never happened anyway as fate would have it) but just because she has nothing else to give direction or hope to her life, as her well-meaning-but-easily-preoccupied/annoying-mother, Gloria (Linda Emond)—who wasn’t there to retrieve her daughter when she arrived in the city (mix-up on arrival day, little dialogue with Lynsey after she takes a city bus home); Gloria easily accepts another drink on a regular basis too, while Lynsey begins this story not drinking at all—gives Lynsey little reason to stay any longer than needed while her deaf brother’s in prison doing time for his prior life as a junkie/dealer (he’s actually happy not to be on the outside, as being locked up’s helped stabilize his life, but that’s no incentive for Lynsey to go along his route).
She manages to get a job as a pool cleaner for those in the city more well off than her, but even that brings complications as her old truck breaks down, so when she turns into a repair shop she finds it’s a carburetor problem which will take a few days and a few hundred dollars to fix (reminds me a bit of the protagonist’s immediate problems in the Italian Neorealism classic, Bicycle Thieves [Vittorio De Sica, 1948; sometimes called The Bicycle Thief, not a truly accurate translation], but this small plot resonance is where the similarities end, unless you’d find parallels in their unresolved conclusions). With no choice but to keep moving forward, Lynsey pushes herself to her assigned locations, picks up the cleaning process easily, gets visits and rides from repair shop owner James (Brian Tyree Henry), they wind up in a bar where she agrees to a beer (leads to more as the story progresses, but never over-indulgence; no romance between these two either as she makes it clear she’s a lesbian).
As they talk over the next several days she learns he’s got past tragedy too, as he was driving on the long causeway that crosses huge Lake Pontchartrain, connecting the city and its suburbs to points north, when he was involved in a car accident resulting in the amputation of his lower left leg, the death of his young relative (great-nephew, I think), Antoine, causing his distraught nephew, Jess, to move away, leaving James with essentially no family or friends. One night Lynsey encourages him to join her at a pool where the owners won’t return until tomorrow so he does; after finally removing his prosthesis he jumps in the water, they talk, she responds to his misery with a hug and kiss which angers him because he feels she’s put up a sexual barrier between them, then slammed him with an ambiguous action he’s supposedly not allowed to follow up on so he climbs out of the pool, dresses, leaves in a huff. ⇒From this point, Lynsey goes about putting things together in her life by retrieving her truck (no charge, as per directive from James who’s not in the day she reclaims it); convincing Dr. Lucas to clear her for return to the war zone (PTSD be damned!); a visit to her brother where they communicate via sign language through the protective prison glass; finally her purchase of a 6-pack as part of a visit to James in hopes of re-establishing their friendship as she tells him she’s not going back in the Army just yet after all. What’s next? Who knows? Film ends.⇐
So What? When I first heard about this new release with a title of “Causeway,” I thought back to the causeway I once was very familiar with, the long, just-barely-above-water-bridge that connected my long-ago-home of Galveston Island to the Texas mainland, a chancy crossing at times because you never knew when the middle section might have to be raised to allow a ship to leave the channel, passing out into the Gulf of Mexico, backing up car traffic (and trains sometimes) in both directions for a long as it took for those slow-moving-ships to get clear (fortunately for all concerned, years later a marvelously-high-bridge was built to allow ships to easily pass under), so I understand the word “causeway” not only as a simple reference to a lengthy-water-crossing but also it can connote lingering negative realities, as it does for James in this film. In a larger context, though, I see this title referring to anything we assumed we’d just be participating in as an uneventful task only to find tragedy strikes as our lives have changed completely with consequences we’d never imagined when we woke up that morning, as with brain damage for Lynsey, amputation for James, memories of horrid death to those close to them for both of these generally-lost-souls. At first, right after watching this film, I had a mild response mirroring those OCCUers who felt letdown nothing’s really resolved here, we just get a cluster of events taken together don’t result in more than a sum of its parts. Then I thought more about it for a couple of days, came to the realization there never was an intention of some great breakthrough here for either Lynsey or James (although she does make considerable progress from the traumatized, near-vegetative state where we first see her; he’s able to open up in a manner likely not available to him with anyone else he knows), that small progress is still something to be appreciated/celebrated, and we get the rare circumstance of a story location in New Orleans without dragging in typical cuisine/jazz clubs/French Quarter parades (nor graveyards with monsters lurking around), so it was ultimately nice to see restraint in that area as well, all the while marveling at the superb acting by Lawrence and Henry, well worth your time (blissfully, not an overdose of it) to see and appreciate as these two terrific pros bring subtle depth to their characters.
Much as I came to appreciate Causeway after mulling it over (joining the CCAL's majority; more about that in this review’s next section), there are notable naysayers, stretching from coast to coast with the San Francisco Chronicle’s Mick LaSalle being unimpressed (“[…] It’s boring. But, no, the word ‘boring’ isn’t enough. We need extra O’s, as in boooring, yet even that won’t do it. If Boredom itself bought a ticket and went to ‘Causeway,’ it would fall asleep. [¶] The movie’s problems are basic but nonetheless fatal and have to do with all aspects of ‘Causeway’— plotting, character, the relationships, the goal of the central character. At every turn, whenever the screenwriters accidentally stumbled upon the possibility of drama, they ran the other way. ‘Causeway’ is only a ‘drama’ in the sense that it’s definitely not funny.“), while The New York Times’ A.O. Scott is equally-dismissive (“ ‘Causeway’ is both thin and heavy-handed, its plot overly diagramed and its characters inadequately fleshed out. The burden of making it credible falls disproportionately on Henry and Lawrence, superb actors who do what they can to bring the script’s static and fuzzy ideas about pain, alienation and the need for connection to something that almost resembles life.”). Sometime I must wonder what each of us saw when critics I normally respect get so uninterested in something I find generally intriguing. (It’s a shame they’re not as brilliant as me, but, then again, how many are?)
On the other hand, you can find active support for this film, as from Entertainment Weekly’s Leah Greenblatt (“That lack of outright incident, the willingness to just sit in itself quietly and observe, is one of Causeway's most admirable qualities, though it can also make the film […] feel too minor-key; there's a fine line between subtlety and impassivity. And certain details (of Lynsey's diagnosis, or James' personal history) seem glossed over, either for convenience or simply because they haven't been fully considered. Still, it's nice to see actors like these do such subtle, sympathetic work for a gifted young director — and to find an outlet for storytelling that doesn't demand neat redemption, but still allows for grace.) and Variety’s Owen Gleiberman (“[… This is] is the furthest thing from a genre film. Yet it belongs to what I’ve almost come to think of as a genre: the slow-burn non-verbal indie gloomfest. In saying that, I don’t mean to make light of the subject. […] Tentatively, Lynsey starts to walk, but for a while she struggles to bathe, drive, remember things. The brain injury has smashed and weakened her; she’s a person in fragments. […] That mood — of pain hanging in the air, of unvoiced despair — creates a kind of signifying art atmosphere of authenticity. Neugebauer, making her first feature, is good at it; she’s got the instincts of a true filmmaker.”) If I could have said any of this as eloquently, I would not have to quote these others (maybe I'm not so brilliant after all).
When you read their full reviews (I encourage you to), you find both Greenblatt and Gleiberman still find some reservations about the fullest-possible-impact of Causeway (which I’ll marginally agree with, just not to the harsh levels of LaSalle and Scott), but perhaps all of us who find something lacking in this film are still hoping for some more dramatic explosion when we should just leave those expectations to what’s already happened in the deserts of Asia or the long bridge running north of New Orleans. Causeway gives us plenty to appreciate as is (whatever more we might want from it), a relatively-unusually-restrained-look at something much more intense that gnaws at the innards of these characters, trying as best they can to find some level of salvation even if it’s just a shared beer or a dip in someone else’s pool. What more they could find together is just mere conjecture, though.
Bottom Line Final Comments: Background information indicates a limited theatrical run; however, it’s been limited enough I find no actual mention of it, but it’s easily streamed (for no additional charge) if you subscribe to Apple TV+ ($6.99 monthly, though you can probably get a 7-day-free-trial). You’ll find the CCAL’s generally in support of my “go see it” recommendation, with Rotten Tomatoes critics providing an 85% cluster of positive reviews while the normally-more-reserved-reviewers at Metacritic give one of their “Generally favorable reviews” with a 66% average score (see the Related Links section far below for more details). I really can’t say much more except I applaud the continuity of presentation here, despite the New Orleans shooting beginning in summer 2019 but not completed until 2 years later due to interruptions from Hurricane Barry and the COVID-19 pandemic. Nothing seemed mismatched or out of continuity to me, just as I’ve come to truly appreciate the immense talent of Jennifer Lawrence after being somewhat disgusted she’d won the Best Actress Oscar so early in her career for Silver Linings Playbook (David O. Russell, 2012; review in our December 28, 2012 posting [horrible layout, sorry]) for a role I didn’t think matched her notable presence in the earlier Winter’s Bone (Debra Granik, 2010), but over time and an effective range of roles from the Hunger Games (Francis Lawrence, Gary Ross, 2012-2015; reviews in our postings of April 6, 2012, November 26, 2013, November 26, 2014, December 2, 2015 [layouts get a little better as time goes on]) and X-Men (Matthew Vaughn, Bryan Singer, Simon Kinberg [2011-2019] for her) franchises, along with totally different roles in a range from American Hustle (Russell, 2013; review in our posting of December 27, 2013 [layout still too wordy]) to Red Sparrow (Francis Lawrence, 2018; review in our March 7, 2018 posting [layout finally somewhat under control]) to Don’t Look Up (Adam McKay, 2021; review in our January 13, 2022 posting [layout looks pretty good for a change]), she’s proven herself to be a gifted actor, with this latest performance being one of her best, capturing restrain as effectively as she mastered varying flamboyance in many of those others.
So, with all of that chatter done with enough for you to ponder, let’s move on out of here with my usual review-closure-tactic of a Musical Metaphor, this one a pretty obvious choice in that ultimately this story’s about how a difficult friendship attempts to emerge between Lynsey and James, with a very successful song from another James, Mr. Taylor, “You’ve Got a Friend” (on his 1971 Mudslide Slim and the Blue Horizon album) to sing for our protagonists, but it was written by his good buddy Carole King (who also featured it on her huge-selling-1971-album, Tapestry) so they both got great returns on it, him with a Grammy for Best Male Pop Vocal Performance, her for Song of the Year. Just to take us back to 1971 for awhile, here’s his version at https://www.youtube.com/watch?v=nEFfzHiEKHY (a 1971 BBC concert) with her accompanying on piano, then we'll hear a true duet at https://www.youtube.com/watch?v=7ySNPb9punk, which is from a 2010 reunion performance at L.A.’s Troubadour Club, celebrating the times they played together there in the 1970s. Regarding the complicated situation of Lynsey and James, it seems all-too-appropriate to note lyrics such as these to the negotiated-connection they attempt to establish: “When you’re down and troubled / And you need some loving care / And nothing, nothing is going right / Close your eyes and think of me / And soon I will be there / To brighten up even your darkest night.” I speak from nearly 75 years of experience in saying true friends are extremely hard to come by, then even harder to maintain, but when they happen upon you they provide a great addition to your life (do you hear me, Melody Rygaard Smith [Galveston Ball High, 1966], who along with my marvelous wife, Nina Kindblad, are 2 of the many thousands who seem to read these blogs each month, yet you great women actually give me some feedback on a regular basis, which I appreciate more than you could ever know), exactly what Lynsey and James are seeking in their own peculiar ways. I hope they'll find the connection they’re cautiously looking for, just as I hope they send me some of that delicious shrimp étouffée (and a Dixie beers 6-pack) if they’re ever dining out at Mother’s Restaurant in the Big Easy.
SHORT TAKES
This is a documentary in general about transgender people, with a specific focus on TikTok star Jesse Sullivan (female to male) and celebrity makeup artist Stassi Kihm (male to female), their earlier lives that led to the decisions to transform themselves into the gender identities they feel are who they truly are and the realities of surgery to give themselves the bodies they see as appropriate.
Here’s the trailer: https://vimeo.com/668336989 (on Vimeo rather than YouTube this time)
For those (like me, a cis-gender male [or likewise for females]) who don’t know much about the realities of transgender people, this film's a useful, engaging, embracing, honest (as best I know) look at how people who are born with certain genitals but see themselves as not the gender assigned to them will challenge the personal fears/societal discriminations they may face, especially when making the major commitment to surgery, a needed aid in finding peace as the person they know themselves to be. (Even if you’re well-versed in this subject, I think you’ll still find ... Life to be a valuable artifact of how a few specific individuals dealt with their own situations, exposing their realities for the rest of us to appreciate.) This is no “fly on the wall” doc, though, as director* Serena DC is on screen about as much as her subjects, talking to them about their “before and after” lives, interviewing relatives and other relevant people, making it clear she’s actively involved in pursuing this topic for the benefit of future audiences, trying to get her subjects to reveal as much as they will on camera. The focus is on the transitions of TikTok star Jesse Sullivan (formerly “Jessica”) and celebrity makeup artist Stassi Kihm (formerly “Seth”) in the L.A. area as they’ve re-emerged from prior lives, respectively going from female to male, male to female, 2 of the approximately 11,000 in the U.S. (in 2021) making this decision for gender-reassignment-surgery, despite the rejections and/or violence many of them encounter, often leading to suicide. Past this introductory material we get a brief interview with one of today’s most-noted transgender women, Caitlyn Jenner, who says she doesn’t want this film to be just about her, so our focus settles on accounts of Jesse and Stassi.
*There’s little to be found about this documentary throughout the Internet; on IMDb (one of the few places with any reference) the directors are listed as Serena Dc and Miko Allyn (also an associate producer), yet within the film’s actual credits only Serena DC is shown as director, Allyn as the director of photography and editor (he does get a little on-screen time toward the end, but obviously he was there for everything we see). I will note, though, Serena de Comarmond, who’s clearly the “DC” noted just above is the President/Creative Director of Elysium Media and is who contacted me about reviewing this film, where she’s also the screenwriter (says IMDb) and executive producer, so however one might choose to list her in any version of credits she’s clearly a major force for this doc.
We see Jesse getting his weekly testosterone injection; we meet his son Arlo, who Jessica had while still an 18-year-old-female; we get some background from Stassi’s sister, Shelby Kihm, and Jesse’s sister, Katherine Sullivan, both of whom are quite supportive of their siblings despite stances from some family members a person’s sex is determined by God, not to be questioned or altered. This is countered by remarks from psychologist Dr. Kathryn Sparks who supports the reality of self-identified-sex-differences (manifested in children as young as 3), shows us her “gender abacus” device which allows kids to position themselves on a spectrum of identities. Then Stassi’s boyfriend, Tristan, is interviewed but wants to keep his identity somewhat secret by having his face blurred out, despite his position he’s serious about Stassi, no matter her different situation. We hear from Dr. Erin (gives no last name) who recognizes gender dysphoria but isn’t supportive of transitioning, especially not with surgery, so this documentary tries to be somewhat balanced by including statements from some who don’t support the direction our two protagonists are taking (useful differentiation’s also made between drag and transgender); however, the overall tone is one of acknowledgement and joy that each transtionist is now much more secure in who they know themselves to be, especially after director Serena brings in more context on the whole experience from transgender woman Briannah Jayde, a bridal stylist. Dr. Nance Yuan then performs successful breast augmentation surgery on Stassi, helping her feel immensely more like the woman she knows herself to be (during the shooting of this film Jesse’s surgery to further flatten his chest had to be postponed, yet we still see how resolved/confident he already is about these decisions he’s made).
Even more so than the nebulous citations I found about this director is the possible confusion I’ve encountered as to where you can stream her doc (seemingly released on some Internet sites on March 31, 2022—the International Trans Day of Visibility—now [I think] found on Apple TV+, Amazon Prime Video, Google Play, Xbox, YouTube, Vudu, and Microsoft for $4.49-$4.99 rental for HD quality or $5.99 rental in 4K quality on Apple TV+, Amazon Prime Video, Google Play, YouTube, and Microsoft, although other sources also list Pluto TV, Samsung, DirectTV, Philo, Sling, and The Roku Channel [I’ve not attempted to verify all this, but feel free to search for yourself if you like]). Wherever you might choose to watch this film, I highly encourage you to do so, especially if it will help you come to know some people you might never encounter (or know the full truth about) otherwise, helping our society at large get better informed, less hostile to the trans community as some of the red states have been actively doing lately with various laws demanding accordance with birth biology (although other states have recently become more open to letting each of us decide who we are—not what we want to act as if we are, as if we’re in some kind of self-written-performance art). I’ll bring this to closure with the usual Musical Metaphor, which in this case I think should be “I’ve Gotta Be Me” (written by Walter Marks for the 1968 Broadway musical, Golden Rainbow, sung there by Steve Lawrence), which has been recorded by many, yet for me the obvious singer is Sammy Davis Jr. (on his 1968 album named for the song) at https://www.youtube.com/ watch?v=5gkAfqSRtpQ (a 1985 performance in Germany), given his status as a 1-eyed Black convert to Judaism married to a White woman, characteristics which made him also rejected by some bigoted members of society (a clip featuring another famous White guy from Queens, NYC, though this one never ran for President), just as so many transgender people have suffered humiliation/rejection even though, as with Jesse and Stassi, many others have been found to be quite embraceable (as was also the case with Davis). The song says: “I’ll go it alone, that’s how it must be / I can’t be right for somebody else / If I’m not right for me / I gotta be free, I’ve gotta be free / Daring to try, to do it or die / I’ve gotta be me”; the brave people who were willing to share so much of themselves in My Transparent Life are living examples of what these encouraging lyrics proclaim.
That’s all for my critical commentary this week (which usually reminds me of some parting lyrics from Pink Floyd’s "Time": “The time is gone, the song is over, thought I’d something more to say,” or maybe R.E.M. knows me even better [from "Losing My Religion"]: “Oh no, I’ve said too much / I haven’t said enough”), but whether you agree with any of that stuff or not I’ll offer you one more opportunity to be in unity with an attitude that would benefit all of us, James Taylor’s "Shower the People" (on his 1976 In the Pocket album), because we should “Shower the people you love with love / Show them the way that you feel / Things are gonna be much better/ If you only will.” We’re now sailing through divisive times; it could be a smoother ride if we’d only help each other a bit more.
Other Cinema-Related Stuff: In quick fashion, here are a couple of extra items for your consideration: (1) Disney+ now up to 164.2 million subscribers worldwide; and (2) Will Black Panther: Wakanda Forever beat Doctor Strange 2 for the biggest weekend opening of 2022?.
Related Links Which You Might Find Interesting:
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Here’s more information about Causeway:
https://a24films.com/films/causeway and https://www.apple.com/tv-pr/originals/causeway/
https://www.youtube.com/watch?v=l7NVBYu4-mI (10:13 interview with director Lila Neugebauer and actors Jennifer Lawrence, Brian Tyree Henry)
https://www.rottentomatoes.com/m/causeway
https://www.metacritic.com/movie/causeway
Here’s more information about My Transparent Life:
https://www.imdb.com/title/tt15456952/ (best I could do for an official site)
While I could find no reviews for this film on either Rotten Tomatoes or Metacritic there are some on IMDb so here are the 2 (soon to be joined by mine) from critics at https://www.imdb.com/title/tt15456952/externalreviews?ref_=ttfc_ql_op_5 (which are brief but supportive) and the 25 (all but 2 are extremely positive) from viewers at https://www.imdb.com/title/tt15456952/reviews?ref_=ttexrv_ql_3.
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