I watched an interesting film last night, courtesy of Netflix. The Congress (2013) stars the lovely Robin Wright as herself, an actress facing the inevitability of being offered fewer roles as she ages. How close it actually is to her real life is anyone’s guess, but it is brutally frank about her career, which, outside of a few fine films, has not fulfilled its promise. She is offered a final contract wherein she will be digitally preserved, all her subsequent appearances generated by computers. The most difficult caveat is the promise she will never again appear other than in CGI. She is appalled at first. She caves when she realizes her son’s medical treatment will be financed. Flash forward 20 years. She is on her way to address a gathering celebrating the Miramount studio. To gain entry, she is required to take a drug, which leads to an animation sequence that takes up about half the two-hour running time. A contributor at IMDb pointed out that this seems in direct contrast to the theme of digital content. It makes a lot of sense to me. Why go to animation in a film about CGI? As far as a theme goes, I suppose this is a cautionary tale about the surrender of individuality for comfort. While I wouldn’t call the use of Wright’s real name a gimmick, I don’t think it would have made any difference had a fictional one been used. The pace of the film is leisurely, the tone melancholic. I was unable to find definitive stats on its box office take, but I’d guess it was a big loser financially. Artistically? I’m not sure. This is the type of movie that requires several viewings. A joker at IMDb suggested someone watch the film while under the influence of LSD, and report back. 8600+ users at IMDb have rated it, forging to a consensus of 6.6 of ten. I hesitate to rate it myself, as it is so unconventional. Harvey Keitel and Paul Giamatti lend their considerable talents in support. Jon Hamm does the voice-over. The film is based on a novel, The Futurological Congress, by the most successful Polish author ever, Stanislav Lem, who also wrote the highly acclaimed Solaris. Wright was not a character in the book. The Congress was directed and adapted for the screen by Ari Folman, an Israeli, whose work was heretofore unfamiliar to me. Except for an abundance of profanity, there is nothing in it to be squeamish about. I did find one scene very touching. In conjuring the best moments of her life, Wright imagines her toddlers on swings, her husband, whom she kisses, at her side. I immediately thought of the father of her children, Sean Penn, whom she divorced. Although a gifted artist, he seems a creep. Even so, I'd guess the split caused Wright great pain.
I have a new favorite actor - Vince Vaughan. He was interviewed recently by Playboy. Here is an excerpt: "America today is not capitalistic. The problem is corporatism. The government has too much authority, and it's dangerous. It stifles productivity and freedom and prosperity and peace. I find most people nowadays are more complacent or accepting that the government can successfully do everything for us. It can't. It can't." I'm surprised to hear such thoughts from Hollywood while a liberal resides in the White House.
Vic's 5th Novel: http://tinyurl.com/okxkwh5
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Vic's 3rd Novel: http://tinyurl.com/7e9jty3
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Vic's 2nd Novel: http://tiny.cc/0iHLb Kindle: http://tinyurl.com/kx3d3uf
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Vic's Short Story Collection: http://www.tiny.cc/Oycgb
Vic's 2nd Novel: http://tiny.cc/0iHLb Kindle: http://tinyurl.com/kx3d3uf
Vic's 1st Novel: http://tiny.cc/rP7o9
Vic's Rom-Com Screenplay: http://tinyurl.com/kny5llp
Vic's Horror Screenplay: http://tinyurl.com/cyckn3f
Vic's Blog: http://vicfortezza.blogspot.com/
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