Arts Reviews

As a British woman, I love Americans’ kindness, generosity and energy but am often thrown by their exaggerated politeness and euphemistic speech. They use ‘passed’ for ‘died’ and always say ‘excuse me’ if they brush against you in a shop. They sentimentally refer to ‘your puppy’ when the dog is patently over three years old. They refer to a dog’s ‘going to the bathroom’. And why say ‘a grown man’ instead of just ‘man’? Wads of paper napkins are handed out unnecessarily in cafés and at parties (where one is sometimes offered ‘a beverage’ instead of a drink). But Americans can also be unexpectedly bloodthirsty and violent and I find this contrast disconcerting.

Lady Bird is a semi-autobiographical film written and directed by Greta Gerwig with a plot synopsis that need not detain us as it is basically only this: girl has a mum. (Or: girl has a mum, and sometimes they row and sometimes they don’t.) But thus far it has won near universal critical praise, two Golden Globes and five Oscar nominations, thereby proving there is mileage in girls and their mums, and box office in girls and their mums, and that girls and their mums can be more than mere afterthoughts. In this respect, Lady Bird may, in fact, be quite the rare bird. It’s set in Sacramento, California, in 2002, and follows a year in the life of 17-year-old Christine McPherson, who calls herself ‘Lady Bird’ because she is, you know, At That Age.

‘Hi, it’s Jonas.’ When the great tenor rings from Vienna, I ask if there are any topics he wants me to avoid, such are his minders’ anxieties. ‘Ask anything,’ laughs Jonas. ‘I’m not shy.’ He is heading in from the airport to see a physio — ‘these concerts, you have to stand there all the time’ — before taking Hugo Wolf’s Italian Songbook on a seven-city Baedeker tour: Vienna, Paris, London, Essen, Luxemburg, Budapest, Barcelona. I wonder if he is aware that Wolf is a hard sell to English audiences. ‘Not just the English,’ he replies. ‘Even in Germany promoters say to me, please don’t do a Wolf-only recital, no one will buy tickets.

Gstaad For some strange reason there have been no #MeToo complaints around these parts. Some locals have grumbled about yours truly, and an interview I gave about this village to a Swiss daily, but although Harvey used to hang out here during Christmases past, no one’s come forward to claim rape. Is there something wrong with our womenfolk? No, most of them are semi-ladies who have made it big and landed some pretty big fish, so no use of crying wolf, sorry, rape. Even the mother of my children has expressed surprise. ‘I was pretty once, and men liked me, yet no one has ever jumped on me, except some silly Englishman with terrible breath who tried to kiss me while you were out on the dance floor.’ Well, all I can say is when in trouble, look for the money.

Has Barack Obama become a flower child? His new presidential portrait, which is over seven feet high, depicts him on a chair staring ahead somewhat pensively as he’s framed by various flowers that reference Kenya, Hawaii and Chicago. It’s a fitting backdrop to a president who not only embodied the multi-cultural aspirations of America, but also wanted to be seen as a meditative fellow. His adversaries may well conclude that the flowers out him as what they viewed him as all along—a not-so-closet leftist. Meanwhile, his wife Michelle looks serene in a capacious, flowing gown that drapes to the floor.The question hovering over the portraits, though, is whether they were worth the bother.

Paul Thomas Anderson’s Phantom Thread is a lush psychosexual drama starring Daniel Day-Lewis as a pampered, tyrannical, pernickety 1950s couturier whose life is disrupted when he falls for a waitress who, in the most unexpected way, proves his match. It is a wonderfully fixating film in every respect, and wholly non-formulaic. And it miraculously transforms an addition to a breakfast order — ‘…and sausages’ — into one of the sexiest things ever said. Ultimately, its meaning will be open to interpretation. I saw it as the rather timely story of a man who is finally forced to cut out his misogynist heart and see women as real people, but your interpretation may differ, which is fine, even though I’m bound to be right.

Downsizing is a film with the most brilliant premise. What if, to save the planet, we were all made tiny? What if we only took up a tiny amount of space and flew in tiny planes and produced tiny amounts of rubbish? And what if we could live in the sort of mansions that would cost millions if they were regular-sized? What if, what if, what if, what if… but most crucially: what if this film had run with the premise rather than throwing it away? Could it have avoided becoming just another dumb ‘white saviour’ movie? And this, alas, is the ‘what if’ that must preoccupy us today. This is a film by Alexander Payne, otherwise known for Sideways and Nebraska and About Schmidt, so there may just be no explaining it.

I spent the better part of two sunny days indoors writing about authenticity for a Greek magazine, a strange subject in view of how inauthentic politics are in that Brussels-run south-eastern outpost dotted with islands. Mind you, what is taking place in the West makes Greek politics seem ideal by comparison. The witch hunt is on and it’s as phoney as the one that burnt those poor women in Salem long ago. Thank God for the French actress who injected some badly needed truths into Hollywood’s bullshit. Catherine Deneuve signed an open letter published in Le Monde attacking the wave of ‘puritanism’ sparked by the allegations against Harvey and co.

Steven Spielberg’s The Post, which dramatizes the Washington Post’s publication of the Pentagon Papers in 1971, doesn’t exactly push at the frontiers of storytelling. It’s told straight and in a familiar way. Here are the journalists furtively working through top-secret government papers in a smoke-choked room for the public good. (There were no empty pizza boxes in this instance, but there could have been, if you get my drift.) Here’s the government trying to stop them. Here’s the newspaper rolling off the press, and everyone clapping. And so on. But it does star Tom Hanks and Meryl Streep, engaged in a kind of dance as the paper’s editor and proprietor, and you just can’t argue against Tom Hanks and Meryl Streep.

Three Billboards Outside Ebbing, Missouri does, indeed, feature three billboards outside Ebbing, Missouri. They have been placed at the roadside on the outskirts of town by Mildred Hayes (Frances McDormand), a middle-aged woman whose teenage daughter had been raped and murdered seven months earlier. The billboards read: ‘Raped While Dying’; ‘And Still No Arrests’; ‘How Come, Chief Willoughby?’ Mildred is grieving, in pain and a ball of fury. But not your regular, everyday ball of fury. She is a ball of fury of the most magnificent, unstoppable kind. If only she could go after every rapist from now on. I’d certainly sleep better in my bed.

Brad’s Status is a midlife crisis film starring Ben Stiller as a nearly 50-year-old man whose status anxiety is through the roof, poor thing. My heart bleeds and all that. I’ll tell you what Brad’s status should be: face well and truly slapped. The film is written and directed by Mike White (Beatriz at Dinner; Enlightened) and in some quarters it has been renamed Mike’s White Privilege, which is fair — no one else gets a look in — but as it’s intended as a satire of white male privilege you can’t exactly blame it for being white, male and privileged. However, while some moments will resonate (who hasn’t ever felt envy, or does not hope for shitty lives behind the shiny Facebook updates?

Molly’s Game marks the directorial debut of Hollywood’s most celebrated screenwriter, Aaron Sorkin, and is based on his adaptation of the memoir by Molly Bloom. Nope, me neither, but she’s the one-time Olympic skier who, at the age of 26, started a high-stakes poker game for ‘the richest, the most powerful men in the world’ and ended up with the FBI in her face. Poor Molly, we’re meant to think, when the FBI ends up in her face, but I was delighted. Bang her up! This has been posited as the antidote to all those male-driven, big money Wall Street films, with Sorkin even declaring Ms Bloom a ‘feminist icon’. Well (she says, haughtily), we will see about that.

Menashe is a drama set amid Brooklyn’s ultra-orthodox Hasidic community. It is performed entirely in the Yiddish language. It is peopled exclusively by Hasidic non-actors. (Real-life grocer Menashe Lustig plays the title character.) It is small and specific, admittedly, but it also tells a universal story about a father’s struggle to hold on to the son he loves, and it tells this story tenderly, thoughtfully, beautifully. It may even be my favourite frum film of the year. Thus far. (Still a few weeks to go.) This marks the feature debut of director Joshua Z Weinstein (no relation), who made documentaries previously, and who wrote this with Alex Lipschultz and Musa Syeed.

Battle of the Sexes recreates the famed, culture-changing 1973 tennis match between 55-year-old Bobby Riggs, a self-proclaimed chauvinist, and 29-year-old Billie Jean King, the world’s top female player who was out to liberate women and herself. (She was just discovering her true sexuality at that time.) Unless you happen to identify with Bobby — ‘Don’t get me wrong. I love women in the bedroom and in the kitchen, but these days they want to be everywhere!’ — this is certainly a great comeuppance film of the kind that will amply satisfy all your comeuppance needs. No complaints, comeuppance-wise.

Film Stars Don’t Die in Liverpool is plainly wonderful, and stars Annette Bening, who is plainly wonderful, as Gloria Grahame, a one-time Hollywood movie star who in later life hits on hard times — ‘a big name in black and white. Not doing too well in colour,’ comments her landlady at one point — and embarks on a romance with a young English actor who is 30 years her junior. It is based on a true memoir. It is a love story, told tenderly, bravely, smartly, movingly. And believably. Older women, it seems, can be interesting, complicated, vital, attractive and sexual. Who knew? (But don’t spread the word, or they’ll all want to be like that, and won’t take the shitty bit-parts any more.

The Florida Project is a drama set in one of those cheap American motels occupied by poor people who would otherwise be homeless. It’s sad but not depressing, bleak but also joyful, and features one of the best and truest child performances you will ever likely see. Also, it is captivating without ever being condescending — I think. It is always so hard to know, but if you get too hung up on that, cinema will never be allowed to say that poverty exists, or deal with stories that don’t regularly get told, and that’s the end of my lecture for this week, you will be delighted to hear. The movie is written and directed by Sean Baker, whose previous film, Tangerine, about a transgender sex worker, was shot on an adapted iPhone 5 and won many awards.

Ridley Scott’s original Blade Runner first came out in cinemas 35 years ago, which I was going to say probably makes it older than some readers, although this being The Spectator, perhaps not. It wasn’t successful in its day, but has since become a beloved classic (rightly), whereas this sequel, Blade Runner 2049, will likely do great box office today, but no one will give a fig tomorrow, once all the silly hype has died away. This is Blade Runner as a dull mainstream blockbuster populated by men who are the epitome of masculine cool and women who are needlessly sexualised fembots.

Borg vs McEnroe is a dramatised account of one of the greatest tennis rivalries of all time — between Bjorn Borg and John McEnroe (the clue was always in the title) — that doesn’t hit nearly as hard as it should. It does the job. It gets us from A to B. But it doesn’t dazzle. It doesn’t have the dramatic smarts to lend either surprising tension or excitement to otherwise familiar events, or shed any new light on them. It’s more the pt-pt-pt-pt of a stolid baseline rally and now, you will be thankful to hear, that’s it with the tennis puns. (I only had two anyhow.) The film stars Sverrir Gudnason as Borg and Shia LaBeouf as McEnroe and it all plays out in the lead-up to their most famous showdown.