Since the 2005 awards season dominated by little independent films, the studios have attempted to co-opt the process by periodically designating the Indie film of the moment. Like MTV, the keepers of the pop music gates, the major studios have been preselecting little films occasionally for us to view as the art of the moment. Little Miss Sunshine was the designated little film of 2006, and though nice, was promoted all the way to the major award shows it really didn't deserve. Waitress was an early entry in this derby for 2007, a nice but limited film.
Since exploding at Toronto, Juno has become the designated Indy film for 2007. Major studio buyout, omnipresent theatrical advertising, should win this, should win that talk everywhere. I approached the viewing of this film with a tiny bit of jaundice, fearful that the hipness of the now memorized trailer was seen as mostly a promotional opportunity.
God, was I wrong.
I have to view it again to verify, but this film was staggering. There are so many things to talk about how wonderful it was, but I will point out the two most obvious. This could be the best written film I have seen in years. Though small in scope, the interloping themes swirling around what is a very simple story are driven much further by the wit and wisdom of the words. What an ear this young woman has for turning phrases into significance. One hopes she isn't reduced to the one hit wonder this thing could become.
Then there is the kid. I don't think I have ever seen a film intended mostly for adults with such a dominant performance by a young person. Ellen Page was simply luminous. She is perfect for this role because of her eyes and expressive mouth that created such a terrifying visage in Hard Candy. Almost all of her dialog gains extra pungency from those piercing expressions. Though her always surprising, obtuse responses to questions and situations are played surficially for laughs, they are delivered with an in-character, intelligent sweetness that enchants while cutting to the bone of a whole number of issues in our time. In the end she pulls off the major theme of the film, going to term her way as a statement of almost subversive independence, with a gusto that calms as it persuades. I was of the opinion that Evan Rachel Wood might evolve into the Meryl Streep of the sub-X generation, but I think she may have some major competition in Ms Page.
Of course it could all be an accident of organic connection. A great off-center writer creating her dream off-center character and finding the perfect actress to pull it off. Mix that with a beyond competent director likely too young to get in the way of great material and you have magic.
More is going on here, however. Everything clicks. The shot selections have a "what's that?" feel that leaves you thinking after they move on. The perfectly selected songs chirp sub-themes galore and carry a tone that moves between fantasy and a much needed reality-check. The editing has similar dynamics shown in Thank You for Smoking. The other characters carry on somewhat independently likely because of the actors selected, most particularly the step mother who evolves from an adversary to the obvious perfect role model before your very eyes.
But in the end, I feel most a need to experience this film again to reconnect to its intentional, optimistic wisdom that its beyond-their-years writer, director, and most importantly its actress communicate so subtly and effortlessly. Some studio honchos picked a winner. This one deserves all the Awards Season accolades it gets.
Since exploding at Toronto, Juno has become the designated Indy film for 2007. Major studio buyout, omnipresent theatrical advertising, should win this, should win that talk everywhere. I approached the viewing of this film with a tiny bit of jaundice, fearful that the hipness of the now memorized trailer was seen as mostly a promotional opportunity.
God, was I wrong.
I have to view it again to verify, but this film was staggering. There are so many things to talk about how wonderful it was, but I will point out the two most obvious. This could be the best written film I have seen in years. Though small in scope, the interloping themes swirling around what is a very simple story are driven much further by the wit and wisdom of the words. What an ear this young woman has for turning phrases into significance. One hopes she isn't reduced to the one hit wonder this thing could become.
Then there is the kid. I don't think I have ever seen a film intended mostly for adults with such a dominant performance by a young person. Ellen Page was simply luminous. She is perfect for this role because of her eyes and expressive mouth that created such a terrifying visage in Hard Candy. Almost all of her dialog gains extra pungency from those piercing expressions. Though her always surprising, obtuse responses to questions and situations are played surficially for laughs, they are delivered with an in-character, intelligent sweetness that enchants while cutting to the bone of a whole number of issues in our time. In the end she pulls off the major theme of the film, going to term her way as a statement of almost subversive independence, with a gusto that calms as it persuades. I was of the opinion that Evan Rachel Wood might evolve into the Meryl Streep of the sub-X generation, but I think she may have some major competition in Ms Page.
Of course it could all be an accident of organic connection. A great off-center writer creating her dream off-center character and finding the perfect actress to pull it off. Mix that with a beyond competent director likely too young to get in the way of great material and you have magic.
More is going on here, however. Everything clicks. The shot selections have a "what's that?" feel that leaves you thinking after they move on. The perfectly selected songs chirp sub-themes galore and carry a tone that moves between fantasy and a much needed reality-check. The editing has similar dynamics shown in Thank You for Smoking. The other characters carry on somewhat independently likely because of the actors selected, most particularly the step mother who evolves from an adversary to the obvious perfect role model before your very eyes.
But in the end, I feel most a need to experience this film again to reconnect to its intentional, optimistic wisdom that its beyond-their-years writer, director, and most importantly its actress communicate so subtly and effortlessly. Some studio honchos picked a winner. This one deserves all the Awards Season accolades it gets.