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TORONTO INTERNATIONAL FILM FESTIVAL 1999 Send This Review to a Friend
Once again the TORONTO INTERNATIONAL FILM FESTIVAL has reinforced its claim to being one of the world's most important and prolific festivals, with a wide-ranging choice of selections available to the Toronto public and the legions of critics and journalists that flocked to see the latest that the many participating distribution companies have to offer. This was the 24th edition of the annual event that began with a vision of a few determined organizers and has grown into a huge operation that attracts prestigious stars and directors.
It's impossible for any one critic to dip into more than a fraction of what's available and a select number of press conferences. AMERICAN BEAUTY (see review by clicking on Film on the home page), won the festival's audience prize and created a particularly strong surge of discussion. Kevin Spacey, virtually certain to be an Oscar contender, turned up at the press conference, although co-star Annette Bening didn't and sent word it was because she was newly pregnant. Spacey extolled the fact that there were two and one-half weeks of rehearsal, which he described as "a fantastic experience."
Director Sam Mendes, who paid tribute to Alan Ball's screenplay, observed that the filmmaking process was "incredibly slow in comparison with theater," where he earned his reputation. This was his first film experience, and since Spacey is also well grounded in theater, there was a meeting of minds. As Spacey put it, "We applied the best of theater and put that into the film experience." Although Ball noted that there originally had been some concern about the film being "too dark," Mendes said that there was never any interference either before or after his director's cut. The conference was also attended by cast members Thora Birch, Mena Suvari, Peter Gallagher and Chris Cooper, all of who displayed intelligence in the way in which they responded to questions.
One of the most memorable experiences was seeing Hungarian director Istvan Szabo's magnificently made epic SUNSHINE, which tells the story of events in his country through three generations of a family, whose members are subjected to the succession of upheavals that marked the country's history during this century. (See review by clicking on Special Reports section on the home page, then clicking on Hungarian Director's Epic "Sunshine.") This was one of the deepest, most accomplished films showcased.
Another highlight was Woody Allen's SWEET AND LOWDOWN, his mock documentary about a guitar player, a figment of Allen's imagination, whose skills were second only to the legendary Django Reinhardt. By the time the film was over it seemed as if Emmet Ray really existed, thanks not only to Allen's directorial prowess but to the dynamic and entertaining performance by a mustached Sean Penn. Ray is depicted as a supreme egotist, who likes women but doesn't think he needs them. Allen is brazen enough to place him in a relationship with a mute young woman, played by Samantha Morton in a performance that can steal your heart much the way Giulietta Masina did in Fellini's "La Strada."
Allen narrates part of the film to give it a documentary flavor, enhanced by others who play themselves. "Sweet and Lowdown" is also rich in 1930s period atmosphere, costuming and as you would expect, perfect scoring. I'll review the film more extensively closer to its projected December release. Meanwhile, mark it down as yet another example of Allen's creativity and penchant for trying something different.
One could tell that the audience with which I saw the French film ROMANCE was exceedingly restless. When the protagonist took out her live-in boyfriend's penis and started to perform oral sex on him the sight was definitely unusual for a mainstream, non-porn film. By the time she had gotten involved with an older man in a bondage relationship--naturally she was the one bound and gagged--several women left the theater. But there was no denying the rapt attention of most at the screening.
Writer-director Catherine Breillat has shown daring in using explicit sex, including more than I've already described, to explore women's sexual desires and insecurities reflected in the story of Marie (Caroline Ducey), who is frustrated because her lover Paul (Sagamore Stevenin) doesn't want to have sex with her. He's on a purity kick--until he's ready again. After making rejected overtures, including her oral best, she decides to look elsewhere, and thus begins her sexual journey to which we are privy.
The trouble is that Marie is boring. Paul is boring. The men she finds are boring. The dialogue is boring. So what we're left with is the explicitness and the pretentiousness of a director who sees depth in all of this. Yes, women's sexuality bears exploring, especially by a woman director. But not much is compelling when one doesn't care what the protagonist does or doesn't do--whether she likes being tied up or the dangerous ploy of accepting a sexual offer of a stranger. It's all well done enough, even to the point of casting well-endowed Italian porn star Rocco Siffredi to deliver what he presumably does best. But who really cares?
There were many far more impressive films at the festival that deserve widespread attention. THE HURRICANE, for example, is a powerful film based on the true story of Rubin "Hurricane" Carter, the boxer railroaded to prison in New Jersey for a murder he didn't commit. Denzel Washington gives a tremendous performance as Carter, an acting job surely worthy of an Oscar, and I wouldn't be surprised if he and Kevin Spacey wind up as the top competitive contenders.
Norman Jewison directed the film with maximum impact, and it towers among Jewison's very best works. It is gripping from start to finish, and it not only offers a deeply personal portrait of Carter, but it delves into the commitment of the Canadians who came forward to battle to win Carter's release. "The Hurricane" is an inspirational story even as it vividly depicts the viciousness with which Carter was subjected to a monumental injustice. Watch especially for this rousing film, due for release in December.
Take note, too, of THE CIDER HOUSE RULES, Lasse Hallstrom's film based on John Irving's novel. Michael Caine is memorable as an aging, ether-sniffing doctor at an orphanage to which he has devoted his services, and Tobey Maguire excels as Homer, the young man who has been raised and tutored by the doctor but is subsequently trying to make his own way in the world. The performance by Charlize Theron as the woman with whom Homer falls in love is a revelation. She is so very different in this portrayal from the model she played in Woody Allen's "Celebrity."
The sassy, religious satire DOGMA has already stirred controversy. Kevin Smith's irreverent tale is really a story of trying to save the world from destruction, but it is outrageous in ways that will surely offend many unable to get by the shocks and grasp the real point of the film. Two fallen angels (Matt Damon and Ben Affleck) are trying to get back into heaven and head for Red Bank, N.J., the focal point of their mission, a goal that endangers human existence.
When Bethany, a disillusioned woman who works in an abortion clinic (Linda Fiorentino) is tapped as a potential savior and teamed with two oddball prophets, the journey for salvation begins. Bethany later turns out to be pregnant without having had sex. Such religious allusions are rampant throughout. There are many hilarious moments, some of them gross, and it is fun--up to a point--to see such a subject tackled so brazenly. The trouble is that Smith doesn't provide enough depth to match his ambition.
"Dogma" grows tiresome and sophomoric in places despite its high aims and intermittent cleverness and fun. Give it A for effort, however, and an A plus for nerve.
As one who some years ago went on a photographic safari to Kenya, I was much taken with TO WALK WITH LIONS, a story of George Adamson's struggle to preserve his animal haven from poachers and a government effort to shut it down. Richard Harris is strong in the role, as is John Michie as Tony, who becomes his assistant. Carl Schultz has directed with feeling for the subject matter, and the use of the lions in the story is remarkable.
The story is in effect a passionate appeal for the preservation of nature in the face of ever-encroaching efforts to abuse the land and the animal world. There are majestic scenes of elephants, giraffes and other inhabitants of the plains, and especially the lions. The film brought back memories of the amazing experiences that I had. There are good performances by Ian Bannen and Geraldine Chaplin, and a brief but effective appearance by Honor Blackman as the ill-fated Joy Adamson,.
Tobey Maguire ("The Cider House Rules") also turned up as the lead in RIDE WITH THE DEVIL, directed by Ang Lee, best known for "Sense and Sensibility" and "The Ice Storm," as well as his earlier films set in his native Taiwan. A story set in the American Civil war and dealing with backwoods warfare between pro-Southern Bushwackers and Yankee marauders would seem a big stretch for him.
But at a press conference Lee stressed that he tends to build movies on human relationships and that the film was heavily researched. The film demonstrated that Lee, as well as screenwriter James Schamus, who adapted Daniel Woodrell's novel "Woe To Live On," had a strong feeling for the period, the sadness of people dying for a lost cause and the over all human aspects in the face of death and destruction.
There's plenty of violent action, but Lee observed that "the most beautiful sight is the nursing." Maguire acts with low key grit and effectiveness. Pop singer Jewel makes a striking screen acting debut as Sue Lee Shelley, a woman who suffers great loss during the warfare but survives and goes on to the next phase of her life.
Amid all the press conferences devoted to stars and famous directors promoting their movies was one assemblage of special interest, a conference titled "The Face of European Cinema Today," sponsored by the festival and the organization European Film Promotion. The stage was packed with young directors, including such women filmmakers as Barbara Albert, Caroline Link, Karin Julsrud and Lynne Ramsay..
The territory explored had a familiar ring, including the need to make films that were indigenous to their respective countries versus the effort to reach a broad international market in order to achieve commercial success. There were no glib answers, as usual, but there was general agreement that filmmakers are most effective when they start with what they know best, as Albert said, yet with an awareness of the challenge to make a dent internationally. But Bruno Dumont asserted from a different perspective, "When I make a film I want to reach the largest numbers of people I can. I'm French, but it is only by accident and not really that important."
What was encouraging is the sight of so many new faces. That's part of what a festival is for.
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