GEMINI – movie review

GEMINI

Neon
Reviewed by: Harvey Karten
Director:  Aaron Katz
Screenwriter:  Aaron Katz
Cast:  Lola Kirke, Zoe Kravitz, John Cho, Ricki Lake, Greta Lee, Michelle Forbes
Screened at: Dolby88, NYC, 2/28/18
Opens: March 30, 2018

If you want to be an actor, you must realize that 95% of thespians at any given time are unemployed (or waiting tables).  A startling contrast finds that some performers who have done exceptionally well in Hollywood and live in real estate that could rival the beauty of the Taj Mahal desire nothing more than a long break, as does a principal character in “Gemini.”  Aaron Katz, whose “Land Ho!” found former brothers-in-law embarking on a road trip through Iceland, now looks into a geographical contrast as well, situating his new movie amid plush Hollywood neighborhoods.

Viewers will likely label the picture a film noir, a genre that at its height found a home in the U.S. during the 1940s and 1950s,  the type of film that features hard-boiled, cynical characters, often a detective or gumshoe, and best of all encompasses moral ambiguity.  Moral ambiguity is on parade in this dark drama, the night sky often lit up by the flashes of paparazzi cameras particularly during moments celebrities may find embarrassing.

The kind of star represented here is often irritating at best and evoking hatred at worst, even a desire by frustrated people to kill.  The pacing is fairly brisk, and even the identity of a dead body can be considered ambiguous.  Though this is in part a detective story, the real center is the relationship between a young and beautiful star, Heather Anderson (Zoë Kravitz) and her loyal, if career-climbing assistant Jill (Lola Kirke).  Those of us who work with demanding bosses or employers who are regularly threatening to dismiss members of a staff might wonder at the bond enjoyed by assistant and star since they not only work well together but share a co-dependent relationship as best friends.  A template for this type of movie might be found in Olivier Assayas’ “Clouds of Sils Maria,” in which a woman, first appearing as a youth, is asked twenty years later to play the role of a deceased star, heading to the Swiss Alps with her assistant to prepare for the task.

After Heather drops her boyfriend Devin (Reeve Carney) as she has a thing for a female model Tracy (Greta Lee), she sends her assistant to take care of the details.  When Heather also decides not to do a movie to which she had committed, she frustrates Greg, the director (Nelson Franklin) and her agent Jamie (Michelle Forbes).  When Jill asks to borrow her assistant’s revolver—she feels unsafe after an aggressive fan-girl forces her way to their table at a coffee shop demanding a photo together with the actress.  As Chekhov said, if you see a gun in act one it will be used in act three.  A homicide with the gun brings in detective Edward Ahn (John Cho), who uses his charm to manipulate Jill into a confession (her fingerprints are on the gun).  The plot winds down to a denouement that is too rushed to be credible, but the film scores thematically in its look at the need of even the most celebrated actress to depend on a deep friendship with others, in this case her assistant.

The majestic buildings on display, particularly a Moroccan villa that could have housed a caliph, could fool an unsophisticated person into thinking that all it takes to buy one is to hang out with producers are advised that a small fraction of one percent of actors are able to turn their careers into the cash for such splendor.

Unrated.  93 minutes.  © 2018 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B+
Technical – B+

Overall – B

BOMBSHELL: The Hedy Lamarr Story

BOMBSHELL: The Hedy Lamarr Story

Zeitgeist Films

Director:  Alexandra Dean

Screenwriter:  Alexandra Dean

Cast:  Anthony Loder, Mel Brooks, Jennifer Hom, Wendy Colton, Fleming Meeks, Peter Bogdanovich, Diane Kruger, Michael Tilson Thomas
Screened at: Critics’ link, NYC, 12/13/17
Opens: November 24, 2017
Bombshell: The Hedy Lamarr Story Movie Poster
How would you feel if you invented something worth thirty billion dollars, that’s $30,000,000,000, and you retired with nothing more than $300/month in social security?  What kind of person would not be outraged, suing everyone in sight?  The invention, which military people are familiar with, is frequency-hopping, a technique that the U.S. used in World War 2 to alter the direction of torpedoes, thereby frustrating German ships which had been fast enough to race past oncoming torpedoes.  Why is it worth that much today?  This military invention has been the basis of, get this, wi-fi, GPS, cellphones and satellites—all the things that make the lives of young people worthwhile.  So, who is this unfortunate man—Albert Einstein, Enrico Fermi, Samuel F.B. Morse?  No: it was a woman, a beautiful woman, one whom you might never expect to be the inventor because…she was perhaps the most beautiful woman in the world—and some people’s first impression when they see such ravishing beauty is…not much in the brain department.  Give up?  Oh, you know the answer, because it’s in the title of this documentary.Alexandra Dean, who wrote and directs “Bombshell”  in her debut as feature film director, focuses on what is ultimately a sad story.  Besides being the most beautiful actress in Hollywood who first made her name in the 1933 movie “Ecstasy” where she indulged in a nude scene with a simulated orgasm, Hedy Lamarr, aka Hedy Kiesler, had such a creative mind that she could have served the Nazi war effort.  The trouble is that since she was Jewish, her movie was banned in Germany and she had to leave for England and then America.  Though the doc does not speculate on what I consider an important point, if Hitler did not have a psychotic aversion to Jews and did not make war on them, he could have profited from the likes of Einstein, Freud and…Hedy Lamarr, and horrible enough to think, he could have won the war.The doc has the usual talking heads, but thankfully is adorned with clips (not enough) from some of her movied and, yes, the skinny-dipping scene and the orgasm are on display from “Ecstasy.”  When you watch scenes of Hedy Lamarr with Clark Gable and Charles Boyer, you might wax nostalgic for the easy chemistry that the world’s most beautiful woman had with some of Tinseltown’s handsomest men.

Nothing remains the same, as actresses who have tried plastic surgery, or not, find out.  Once the allure of sex wears off, the majority are cast away unless they are lucky enough to perform in the roles of grandmas or for commercials for Depends.  Looking back, though, you may consider her most popular movie to be the overproduced “Samson and Delilah,” Lamarr playing the diabolical woman who wipes out Victor Mature’s strength.  Nowadays a C.B. DeMille extravaganza is either lapped up by a gullible mass audience or ridiculed by snobbish critics.

Lamarr not only lost her beauty, causing her to be a recluse in her flat, but despite having married and tossed out six husbands including a Texas oil millionaire, she did not take plan her finances wisely and wound up with the aforementioned $300/month in Social Security.  She did what she could to hide her Jewish identity—in fact her mom converted to Catholicism—which would not have cut any ice with the Nazis.

Best of all are the narrations of Diane Kruger, one of the world’s great actresses whose stunning “In the Fade” (2017) won the New York Film Critics Online for Best Foreign Feature.  NYFCO at the same time gave legs to “Bombshell,” calling it the year’s Best Documentary as well.  This feature should be on the list especially of millennials, who have no idea that movies were invented before 1990.  For the Greatest Generation, the pic will bring back fond memories when artifice in acting was the style and vulgarity was virtually non-existent.

Unrated.  88 minutes.  © Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B-
Technical – B
Overall – B