By PHILIP WUNTCH
Film Critic Emeritus
Two wintry releases reflect artists in the autumn of their years, albeit from different perspectives.
"Starting Out in the Evening" focuses on a once-revered novelist whose works are now out of print and who has been toiling over a new novel for 10 years. "Youth Without Youth," the creation of the once-revered Francis Ford Coppola, is the director's first effort in over a decade, his last two films having been a modestly effective version of John Grisham's "The Rainmaker" and an abysmal Robin Williams comedy, "Jack."
For the most part, those soulless varmints known as film critics have savaged "Youth Without Youth," branding it pretentious and plodding. I'm convinced that had it been directed by a young filmmaker, they would have lauded it as audacious and meditative. Critics as well as film industry figures have never fully forgiven Coppola for attaining classic status with "The Godfather" when he was only 33 years old.
I'm not claiming that "Youth Without Youth" affords a totally satisfying experience. In fact, it's both tantalizing and irritating.The plot rambles and meanders into unexpected corners, and none of the detours are gracefully navigated. But at all times, you know you're in the hands of a filmmaker who loves making films. Coppola's scene composition, his use of shadows and exquisite color patterns are in themselves pure joy. Sadly, these assets make the film's lack of total conviction all the more disappointing.
The story carries echoes of both the deplorable "Jack" and Coppola's respectable 1986 dramedy "Peggy Sue Got Married." Tim Roth plays a disillusioned 70-year-old professor in 1938 Bucharest, remorseful over never attaining his goal of discovering the origin of human language. A bolt of lightning renders him near death, but in the hospital, he becomes rejuvenated to a man of 30, filled with energy and enthusiasm. Hitler hears of this miraculous occurrence and hopes to clone the professor. At this point, "Youth Without Youth" dwindles into a technically superb but emotionally distant espionage drama.
"Starting Out in the Evening" also focuses on a disillusioned geriatric regaining at least a taste of youthfulness. Frank Langella is outstanding as defiantly proud novelist Leonard Schiller,who refuses to compromise his integrity by earning easy money as an advertising copywriter. His main interaction is with 40-year-old daughter Ariel, warmly played by Lili Taylor, who also faces a personal crisis. Both Leonard and Ariel try to compensate for the detachment that each felt during her childhood.
Into this scene comes ambitious, crafty yet compassionate grad student Heather Wolfe (played intuitively by "Six Feet Under"'s Lauren Ambrose), who seeks to make Schiller the subject of her master's thesis. He grudgingly agrees, and she extracts long-dormant memories. Inevitably, there's a touch of erotica in her hero-worship and more than a touch of rivalry in her relationship with Ariel.
Director Andrew Wagner distills the characters' often contradictory emotions with skill and finesse. And he captures New York with the same sense of time and place that marks Coppola's recreation of a Europe faced with Hitler's horrors.
But "Starting Out in the Evening" is Langella's movie. He has long periods of silence when his piercing eyes are his chief mode of communication. But his dialogue has the flourish of a once-active literary lion, and he makes each flavorful phrase flow naturally. An Oscar nomination should reward his efforts, but, as always, nothing is absolute. Still, this movie's definitely a should-see.
RANDOM THOUGHTS: Whether or not you share my qualified enthusiasm for "Youth Without Youth," you've got to applaud Francis Ford Coppola's fathering instincts ... When daughter Sofia was acclaimed as director of "Lost in Translation" and "The Virgin Suicides," poppa Francis told her he wished he could make films like hers. (Of course, this was before Sofia's ill-fated "Marie Antoinette.") ... He was good-hearted enough not to follow the example of his own father, composer/conductor Carmine Coppola. After "The Godfather," patriarch Carmine reportedly took Francis aside and told him, "There's room for only one genius in this family. And that's me."
Tim Roth must be one wily critter. He played a prominent role in Wim Wenders' 2005 "Don't Come Knocking" with a large cast that included Jessica Lange and Eva Marie Saint ... As Wenders recalled, Roth came to him and said, "I made "Rob Roy" with Jessica, and my character treated her horribly. I had to rape and torture her. I've always felt terrible about that. She's so beautiful and such a nice person. Could you please write a scene where I can just be nice to her?" Wenders complied ... Roth then came to Wenders and said, "I've been in love with Eva Marie ever since I saw "North by Northwest." I don't have any scenes with her. Could you please write a scene where she and I can just have a friendly conversation?" Wenders said he knew what Roth was up to but was amused enough to appease him ... In "Youth Without Youth," practically every female character lusts after Roth's 70-turned-30-year-old. Can't help wondering if the original script was written that way, or did Roth offer Coppola some wistful pleas?
Film Critic Emeritus
Two wintry releases reflect artists in the autumn of their years, albeit from different perspectives.
"Starting Out in the Evening" focuses on a once-revered novelist whose works are now out of print and who has been toiling over a new novel for 10 years. "Youth Without Youth," the creation of the once-revered Francis Ford Coppola, is the director's first effort in over a decade, his last two films having been a modestly effective version of John Grisham's "The Rainmaker" and an abysmal Robin Williams comedy, "Jack."
For the most part, those soulless varmints known as film critics have savaged "Youth Without Youth," branding it pretentious and plodding. I'm convinced that had it been directed by a young filmmaker, they would have lauded it as audacious and meditative. Critics as well as film industry figures have never fully forgiven Coppola for attaining classic status with "The Godfather" when he was only 33 years old.
I'm not claiming that "Youth Without Youth" affords a totally satisfying experience. In fact, it's both tantalizing and irritating.The plot rambles and meanders into unexpected corners, and none of the detours are gracefully navigated. But at all times, you know you're in the hands of a filmmaker who loves making films. Coppola's scene composition, his use of shadows and exquisite color patterns are in themselves pure joy. Sadly, these assets make the film's lack of total conviction all the more disappointing.
The story carries echoes of both the deplorable "Jack" and Coppola's respectable 1986 dramedy "Peggy Sue Got Married." Tim Roth plays a disillusioned 70-year-old professor in 1938 Bucharest, remorseful over never attaining his goal of discovering the origin of human language. A bolt of lightning renders him near death, but in the hospital, he becomes rejuvenated to a man of 30, filled with energy and enthusiasm. Hitler hears of this miraculous occurrence and hopes to clone the professor. At this point, "Youth Without Youth" dwindles into a technically superb but emotionally distant espionage drama.
"Starting Out in the Evening" also focuses on a disillusioned geriatric regaining at least a taste of youthfulness. Frank Langella is outstanding as defiantly proud novelist Leonard Schiller,who refuses to compromise his integrity by earning easy money as an advertising copywriter. His main interaction is with 40-year-old daughter Ariel, warmly played by Lili Taylor, who also faces a personal crisis. Both Leonard and Ariel try to compensate for the detachment that each felt during her childhood.
Into this scene comes ambitious, crafty yet compassionate grad student Heather Wolfe (played intuitively by "Six Feet Under"'s Lauren Ambrose), who seeks to make Schiller the subject of her master's thesis. He grudgingly agrees, and she extracts long-dormant memories. Inevitably, there's a touch of erotica in her hero-worship and more than a touch of rivalry in her relationship with Ariel.
Director Andrew Wagner distills the characters' often contradictory emotions with skill and finesse. And he captures New York with the same sense of time and place that marks Coppola's recreation of a Europe faced with Hitler's horrors.
But "Starting Out in the Evening" is Langella's movie. He has long periods of silence when his piercing eyes are his chief mode of communication. But his dialogue has the flourish of a once-active literary lion, and he makes each flavorful phrase flow naturally. An Oscar nomination should reward his efforts, but, as always, nothing is absolute. Still, this movie's definitely a should-see.
RANDOM THOUGHTS: Whether or not you share my qualified enthusiasm for "Youth Without Youth," you've got to applaud Francis Ford Coppola's fathering instincts ... When daughter Sofia was acclaimed as director of "Lost in Translation" and "The Virgin Suicides," poppa Francis told her he wished he could make films like hers. (Of course, this was before Sofia's ill-fated "Marie Antoinette.") ... He was good-hearted enough not to follow the example of his own father, composer/conductor Carmine Coppola. After "The Godfather," patriarch Carmine reportedly took Francis aside and told him, "There's room for only one genius in this family. And that's me."
Tim Roth must be one wily critter. He played a prominent role in Wim Wenders' 2005 "Don't Come Knocking" with a large cast that included Jessica Lange and Eva Marie Saint ... As Wenders recalled, Roth came to him and said, "I made "Rob Roy" with Jessica, and my character treated her horribly. I had to rape and torture her. I've always felt terrible about that. She's so beautiful and such a nice person. Could you please write a scene where I can just be nice to her?" Wenders complied ... Roth then came to Wenders and said, "I've been in love with Eva Marie ever since I saw "North by Northwest." I don't have any scenes with her. Could you please write a scene where she and I can just have a friendly conversation?" Wenders said he knew what Roth was up to but was amused enough to appease him ... In "Youth Without Youth," practically every female character lusts after Roth's 70-turned-30-year-old. Can't help wondering if the original script was written that way, or did Roth offer Coppola some wistful pleas?
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