“Get Low”

“Get Low” was released in 2009. It took me a few years, but I finally saw this film about a hermit planning his own funeral party. Starring Robert Duvall as Mr. Bush, the curmudgeon who has built a sanctuary for himself in rural Tennessee, and Bill Murray, the swindling funeral parlor director anxious to get his hands on the wad of cash Bush carries, “Get Low” was surprisingly poignant, entertaining and darkly comical.

The film deals with death, of course, but also with the psychology of guilt, the difficulties of living and the dangers of introspection. It makes you think, and it makes you feel.

Bush’s log cabin played a central role in the film, becoming a character all its own. Playing off the browns and greens of the natural setting, the cinematography was excellent. All at once, the film was dark but light in both its setting and its treatment of death. Bush is aware that the end is near. He neither fears nor welcomes his ultimate demise but rather accepts it as a natural part of life. In true Duvall style, his performance is excellent and understated. His character reminds me of a dark Hub in “Secondhand Lions”; a man of few words but deep insight and a fascinating history, Duvall plays Bush with remarkable restraint, betraying enough of the character’s melancholy past to keep the audience enthralled but retaining a stony quality befitting an old man set in his ways.

Bill Murray was hilarious in a black comedy kind of way. His excellent comedic timing and straight face were to his benefit as he slid in quick-witted remarks and butted heads with Duvall. Murray was the perfect blend of slimy and lovable, playing a swindler that you can’t help but like. The scenes of sparring between Murray and Duvall kept the film light, not easy to do when death is the overall theme.

Lucas Black did a great job as Murray’s right hand man, Buddy. Uncomfortable with the spectacle that Bush’s living funeral is becoming, Buddy stands as a moral compass of sorts, understanding Bush’s plight and helping in whatever way necessary to make this old man’s final days better.

We come to find that Bush has an ulterior motive for his funeral party. Without giving away significant plot points, I think it’s safe to say that Duvall’s speech at the party is the most moving scene in the film.

This is one of those movies that I will revisit in a while and have a different reaction upon my second, third and fourth viewings (all of which I gladly anticipate). Its message will change with my age as was apparent by my reaction as compared with those of my parents and brother.

Do yourself a favor: get “Get Low.”

Anna Karenina

I saw “Anna Karenina” last night, and it’s taken me nearly 24 hours to wrap my mind around this unique film.

I had read the Tolstoy novel two years ago, and I will not lie to you, I had difficulty getting through it. The multitude of Russian names and excessive snow were obstacles, but the story is as juicy as a soap opera. The new film did a nice job of condensing the tale into 129 minutes. Some of those minutes seemed longer than others.

The whole film took place on a stage, which was a stroke of genius. That coupled with the dance-like movements of the characters symbolized the performance that was Russian society. Always watched, scrutinized and judged, Russian aristocrats like Anna and her husband lived lives that were choreographed by generations before them. Karenin’s adherence to this choreography was at great odds with Anna’s free spirit.

Kiera Knightley was a fine Anna. She’s beautiful, though at times she looked remarkably skinny, which was very distracting to my friend and me as we watched. Jude Law did a nice job as her stoic, strict husband, though no amount of makeup will ever make me believe anyone would cheat on him. Aaron Taylor-Johnson was an excellent Count Vronsky. He was flirtatious, handsome and just naive enough to be ignorant of the social implications of his relationship with Anna.

Matthew Macfadyen stole the show. As Anna’s brother Oblonsky, he provided unsuspected comic relief thanks to his handlebar mustache and absurd facial expressions. My favorite scene of the film involved Oblonsky at work, dancing in and out of varying jackets depending on who he was speaking with and where he was going.

My favorite storyline is the romance between Levin and Kitty, which was played out nicely on screen. Domhnall Gleeson (aka Bill Weasley) and Alicia Vikander were endearing, adorable and in love.

The sets, costumes and music were sumptuous, decadent even. The stage would slowly melt away into fields of snow, ballrooms or horse tracks, only to melt right back to remind the audience of the performance.

I enjoyed the film, but I can’t say it was one I would see again. I wonder if the “epicness” of the storytelling is too much for me to try and relive again. I’ve seen all the tricks and know they’re coming, not very effective the second time around.