Hidden Figures

Score:  ****1/2 out of ***** (A)

Directed by Theodore Melfi
Starring Taraji P. Henson, Octavia Spencer, Janelle Monae, Kevin Costner, et. al.
Running time:  127 minutes
Rated PG

Long Story Short:  Hidden Figures tells the true story of the vital work done by three black women at NASA in the crucial early days of the Cold War space race.  The film has a fantastic foundation to work from, with Henson, Spencer, and Monae skillfully portraying the incredible women.  It's a crowd-pleaser in tone, yet it's also made with the quality and care of the best Hollywood has to offer. Come not just for an important piece of our national history, but also for an extremely entertaining tale.  A must-see.


The front line of the Cold War in the early 1960s was the race to space and, having been the first to do so, the Soviet Union sent shock waves through millions of stunned Americans.  At NASA bases across the country, including Hampton, VA, many people were hard at work to catch up to and surpass their rival.  Part of this effort, but tucked out of sight, included a group of African American women such as computer Katherine Goble (Henson), engineer Mary Jackson (Monae), and the unofficial head of the group, Dorothy Vaughan (Spencer).  Pressured to accelerate his Space Task Group's progress in putting a man into orbit around the Earth, Al Harrison (Costner) reaches out for another "computer", to check and correct the incredible amount and complexity of calculations being done by his team, all white men.  Katherine is called upon, leaving her group for the exciting yet daunting opportunity.  Meanwhile, Jackson attempts to join another team as engineer and struggles as barriers are thrust before her.  And Dorothy continues to fight for her work family; denied the actual position that she does anyway, she takes it upon herself to learn about a new kind of computer - a kind made by IBM - and make her team valuable to the space race in a brand new way.  The clock is ticking, and as John Glenn prepares to take a leap of faith on NASA's efforts, his success depends on the talents and efforts of the three incredible women in Virginia.

Hidden Figures has quite a cast of popular and talented actors which is crucial in driving the drama and essence of the film.  The cast is led by the impressive trio of NASA employees: Katherine, Mary, and Dorothy.  Each woman is a distinguished, intriguing character, thanks to the work of the actresses.  Katherine, if any, is the primary lead due to her role working on John Glenn's flight trajectory.  She has a sort of middle of the road personality, from her nervousness in joining the big shots to her occasional outburst of frustration at her treatment; from her intense dedication to her work to her gentle and loving care of her children.  Katherine is a very well-rounded and developed character, thanks to both Henson and the script (and, of course, the woman herself).  While Spencer's Vaughan and Monae's Jackson don't receive quite the depth of attention, again the performances and character's themselves are impressive.  Vaughan is the dignified emotional leader; also perhaps the most oppressed, she quietly moves forward undaunted, providing a foundation for all the rest.  And Jackson is perhaps the most impassioned one, determined to live on her own terms yet also using a calm and focused mind to get there; a court scene in which she argues for her own right to education is one of the best dramatic scenes I've witnessed in a long time.  There are some notable supporting roles, including Costner's team leader Harrison, an arrogant engineer played by Jim Parsons, a romantic interest for Katherine in Mahershala Ali's Jim Johnson and even a tiny but nice John Glenn part.  But make no mistake: this is Katherine, Mary, and Dorothy's movie.

Hidden Figures is one of those rare films combining a crowd-pleasing style with a top-notch level of filmmaking from its performances to its script and design - oh, and it tells an important, inspiring true story with care and respect.  The overall tone and style of the film has the unmistakable scent of Hollywood drama (from the type of dialogue to the score); sometimes this can be a nauseous odor, but here it is fresh and warm.  And the main reasons this turns out alright - make that fantastic - is the quality and care of execution, and the amazing nature of the true story and its characters.  There are frequent reminders of the racism that the main characters dealt with every day - from a policeman's stopping when he sees their car pulled over, to having to run half a mile across the NASA campus just to get to a bathroom.  But these are not heavy-handed, rather they are both powerful and thoughtfully done.  On the other side of the coin, the white characters do not simply move from ignorant and hateful at the beginning to redeemed and loving at the end.  Each starts at different levels and some make progress while others don't.  In short, for a crowd-pleaser, this film is remarkably complex in its social narrative.

Hidden Figures is not primarily about race relations, however; its main goal is illustrating its remarkable protagonists.  Sure, a large part of that is the women's work (most of this is Katherine's, both the everyday grind as well as a few moments where her mathematical genius gets to shine before a stunned audience) and the racial barriers they face.  But there are also important scenes with family and friends, primarily dealing with single mother Katherine's efforts raising her daughters and being courted by an Army officer.  And despite the seriousness of the story, the script and actors manage to produce some great humor, too (this is where the crowd-pleasing nature comes back in).  Finally, the film is quite historically accurate - Parsons' and Dunst's characters are fictional composites, and some details are swapped around - with little of the dramatic embellishment that can go way overboard in lesser-skilled hands.  Glenn himself trusted Katherine - when he wanted his calculations checked, he specifically asked for her to do it, not the machines or anything/anyone else.

***

Hidden Figures is a great film, and caps what has been an incredible winter season of films - to go along with Manchester by the Sea, Fences, and La La Land.  Speaking of which, I'll be delaying my year-end movie post a bit this year - both so that it comes closer to the Oscars, and so I can see a few more movies on Netflix that I didn't get to see in theaters.  I find it interesting that, in this space for my La La Land, I hoped for more films like it - i.e., strong films that entertain and reach a large audience, while harnessing the talent of Hollywood (not just acting but writing, etc.) on good ideas.  Well, if Hidden Figures doesn't fit the bill, I don't know what does.  It's been a great start to 2017 in movie terms, and hopefully it will continue.  Make sure to get out to see this one!



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La La Land

Score:  ****1/2 out of ***** (A)

Directed by Damien Chazelle
Starring Ryan Gosling, Emma Stone, John Legend
Running time: 128 minutes
Rated PG-13

Long Story Short:  La La Land is a musical, set in modern times but in the tradition of the classics.  Ryan Gosling and Emma Stone must now be cemented as the top pairing in Hollywood, making the film an enrapturing experience.  But credit also must be given to a simple yet well-devised story, a very good script - and perhaps most importantly, fantastic music.  A must-see.


In the sunny setting of Los Angeles, Mia (Stone) dreams of becoming a successful actress.  As she patiently endures failed auditions, she squeezes into a crowded apartment and works as a barista by day.  Sebastian (Gosling) mourns society's declining interest in classic jazz, and his resistance to catering to popular tastes as a pianist bounces him from bar to restaurant and back.  The struggling artists run into each other several times by coincidence, and slowly, grudgingly, get to know each other.  They begin to see themselves in each other, though, in their ambitions, and soon spend more time with each other, urging each other on in their pursuits.  As he grows more fond of Mia, Sebastian looks for more stable employment, and joins an old friend's band - one with a popular sound he dislikes but provides a steady paycheck.  Soon he is out of town on tour more often than not, leaving Mia to continue her vain efforts to land a significant acting role.  The strain of day-to-day living and frustration in achieving artistic ambition for Mia and Sebastian combines now with observing and supporting the same struggles in another; if they can't both have it all, where will their hearts and their minds ultimately pull them?

La La Land has a very small cast - basically, the leads - but the actors take you into their hopeful yet vulnerable world.  Having starred together in several other films, Ryan Gosling and Emma Stone have developed a rapport that is evident immediately and throughout the film.  Both are energetic, and their personalities fit together well; Gosling/Sebastian as a more naturally outgoing people-person yet with a brooding quieter side, and Stone/Mia with a smart, quieter, reserved posture along with the desire and ability to connect with others.  Fortunately, we get plenty of opportunity to observe both characters by themselves in addition to their dynamic relationship.  Naturally, this occurs mostly at the beginning of the film, with Sebastian's passion and Mia's resolve particularly well illustrated - and for both, the internal fear and frustration they try to mask.  But also we see them separately towards the end, showing how their relationship has helped them grow (and also heighten the pain of certain failures).  It sometimes seems that Gosling and Stone are merely being themselves on screen, but I think that more reflects their commitment and consistency to character - and both strike just the right balance at the particularly emotional and powerful moments.

La La Land is a great movie, one that incorporates its musical elements seamlessly and tells a strong story - but above all, a joyful and uplifting one.  With the focus solely on Mia, Sebastian, and their relationship, the filmmakers have room to really explore the characters, with music (and dance to a lesser degree) celebrating and enhancing them along with the more traditional dramatic tools.  After all - this is a film about artists.  The beginning third (well, probably more like first half) and the ending are particularly strong in this combination of art and drama; the middle is still fine, and importantly moves the story forward, but it can't help but drag a bit in comparison.  The story mostly just glides along - in support of the characters - but it provides an ending that is both heartbreaking and also triumphant.  It says, no, you can't have literally everything in life, but the result can still be happy.  Last but certainly not least, the music is tremendous.  Several of the tunes are quite strong and I've been humming them in my head ever since.  Equally as impressive is the instrumental work, in and around the featured songs; it certainly is musical-y, but it all ties together with its own jazzy style and features some great moments, especially for the piano and trumpet (it helps that those are my favorites!).

***

La La Land, like several other films in this awards season, certainly lives up to its critical hype.  Especially in the depths of winter, and the tense, dark political atmosphere of the day, this film is a perfect way to escape, enjoy yourself, and remind yourself of life's hope and possibilities.  I hope, too, that the film can be successful enough to show Hollywood studios the (financial and other) merits of nurturing top talent - here, up-and-coming director Chazelle, and everyone else from Gosling and Stone to the writers and musicians.  These films get made every year of course - and fortunately, at least in my rural area, they are even slowly coming to a wider audience - but I'd like to see more regular effort to A) pour in the same talent and ideas/innovation to the blockbusters (i.e. wide releases) and B) release them throughout the year, not just award season (December-January).  In the mean time, make sure you, the audience, go out to enjoy and support great work like La La Land - so hopefully there'll be more like it to come!



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Fences

Score:  ****1/2 out of ***** (A)

Directed by Denzel Washington
Starring Denzel Washington, Viola Davis, Jovan Adepo
Running time: 139 minutes
Rated PG-13

Long Story Short:  Fences is the film adaptation of a play by August Wilson; it stars, in fact, the lead actors from the Broadway show of 2010.  Denzel and Viola are incredible, a dynamic duo whose characters' lives speak not just to the African American experience but to any family.  Wilson's simple yet compelling and powerful story translates just fine from stage to screen, with loads of great dialogue and interactions that keep you riveted.  Highly recommended for all.


Pittsburgh garbage collector Troy Maxson (Washington) has a seemingly traditional 1950s life, with a wife, teenage son, and home of his own.  After work each day, Troy shoots the breeze with best friend Jim (Henderson), reminiscing about the old days while waiting for dinner.  However, a world of complexity and pain lies beneath the surface for Troy.  His mentally disabled brother, Gabe (Williamson), wanders the streets and Troy often gets him out of trouble.  His adult son, Lyons (Hornsby), struggles to support his own family in the way his father does.  Both Lyons, and younger son Cory (Adepo), strive at making their dreams (in music and football) a reality - which only makes Troy look back at his own dashed dreams with regret.  All the while, his loyal wife Rose (Davis) stands by his side, somehow finding the strength to make the physical and emotional effort of keeping the family together.  But when Troy reveals a secret to his family, they are all forced to confront not just the painful differences that have separated them, but also the parts that join them all together.

Fences benefits from a very talented ensemble that breathes life into the story.  Denzel Washington and Viola Davis are the leads, and both bring much experience to their parts: they each won Tony awards for their work in the Broadway play.  Their comfort with the roles is clear on screen, as they both simply disappear into the characters.  Denzel's is one of the most emotional and animated that I have ever seen - his Troy wears his heart on his sleeve - and also one of the best in general that I've seen.  He is usually energetic, even if crankily so, and Denzel powers through extended scenes of dialogue with tremendous endurance and focus.  Through his eyes and face and voice, you can easily see what a damaged soul Troy is, yet Denzel lowers his defenses enough, at times, to show his vulnerability, too.  Viola Davis is equally brilliant, albeit in a much less showy role (although she gets a few moments, too).  Credit goes to August Wilson, of course, for making the wife of the focal character as deep and complex as she is, but Davis pulls off the great feat of making her presence known at all times, while not hogging all the attention.  Her Rose is a model of strength and courage and Davis' performance is at least as important as the script in doing so.  All of the supporting roles are superbly done, too: from Troy's friend Jim (Stephen M. Henderson), the affable man of deep wisdom; to Lyons (Russell Hornsby), the distant yet warm son and Cory (Jovan Adepo) the passionate adolescent son.  Multiple Oscar nominations are deserving here.

Fences is an excellent film adaptation of a very interesting and powerful play by August Wilson.  It is important to first note, if you haven't yet seen it, that the style of the action retains its roots from the stage.  Not only is it set almost entirely in the Maxson family home, but there is continual dialogue (I say this because my attention tends to wander a little while watching films, since dialogue is usually less constant - but you can't do that with this one!).  This all was just fine with me, and it fits the needs of the characters and story quite well; it's a testament to the strength of the script and the performances, though, that such a style does not drag at all during a two hour-twenty minute run time.  Denzel is the tour de force here, but there is room for a complex set of issues not just within him but for his individual family members as well.  Of course, the story and characters speak volumes about the African American experience: the resentment of the treatment of blacks, and indoctrination of "their place" in society, which itself powerfully limits even a strong, capable man like Troy - beyond even the de jure means of oppression.  I would argue, though, that it is even more interested (and interesting) in terms of even broader ideas of family.  Troy's early experiences, race-related and otherwise, strongly shaped him.  And tragically, even as he did all he could not to raise a family the way his father did, the avoidance of those evils also created a different kind of oppression for his own family.  The film's ending, with Troy's family coming to terms with his legacy from their various perspectives, speaks powerfully to these themes with love and compassion.

***

A great, bread-and-butter drama, Fences works beautifully as a film even as it retains much of its style as a play.  The adapted script - started by Wilson and completed by fellow Pulitzer-prize winning Tony Kushner (Wilson died in 2005) - is just fantastic.  Wilson's framework is tried-and-true yet also creates characters and a story with true life; and I'm guessing that Kushner's work helped make it even more appropriate for the big screen, while retaining the intimacy of the stage.  The entire cast is equally deserving of praise, especially Washington and Davis, of conveying these people and their thoughts and emotions - and not in brief snippets, but in long, heavy doses of intense and evolving dialogue and action.  It's instantly among the strongest overall dramas I've seen, with universal appeal and relevance.  Highly recommended.



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