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Movie Review: LOVING HIGHSMITH

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Movie Review: LOVING HIGHSMITH

In up to date in style tradition, we’ve internalized a sure view of the US within the Forties and Nineteen Fifties. When World Conflict II ended, life apparently descended into the uncomplicated simplicity we see within the sitcoms of the interval. Simple, clear and white picket fences all over the place. Everyone knows this isn’t the reality.

On the identical time although, sincere depictions of outsider and minority cultures throughout this period stay arduous to search out. These tales weren’t advised. That doesn’t imply they weren’t there, although. Within the new documentary Loving Highsmith, filmmaker Eva Vitija turns the lens on author Patricia Highsmith and the expertise of a sure group of queer ladies in the midst of the twentieth century.

The documentary traces the life and profession of crime author Patricia Highsmith as seen via the lens of archive footage and the various ladies who knew and beloved her. The incomparable Gwendoline Christie voices Highsmith as she really existed, however few bear in mind. The author saved in depth diaries over the course of her life. Eva Vitija directs the movie from her personal script. 

Patricia Highsmith, admittedly, was a determine for whose work I gained a late appreciation. That is even supposing the prolific creator’s work is sort of inconceivable to overlook. For individuals who would possibly maybe want a little bit of a refresher, Highsmith is greatest remembered to up to date readers because the creator of “A Worth of Salt,” the novel which might ultimately turn into referred to as Carol. Todd Haynes turned the novel right into a 2015 characteristic movie of the identical title starring Cate Blanchett.

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Others could be conversant in her novel “The Proficient Mr. Ripley”, which turned a heralded 1996 movement image starring Matt Damon and Jude Legislation. Lastly, traditional movie followers will definitely acknowledge her work on “Strangers on a Prepare”. Her 1950 novel could be tailored for the display screen by “The Grasp of Suspense” himself. Alfred Hitchock launched the movie of the identical title in 1951.

I solely realized Highsmith’s title on podcasts inside the final ten years, regardless of having watched a few of these movies for many years. Actually, Strangers on a Prepare is my favourite Hitchcock movie. Novels typically aren’t seen as… attractive… as characteristic movies. Many bear in mind these works. Speak to many a millennial and I’m positive they’ve a reminiscence of The Proficient Mr. Ripley, be it Jude Legislation, Matt Damon, or the beautiful surroundings. It’s a foundational movie for these of us coming of age within the Nineties. Sadly, although, it’s uncommon once we bear in mind writers.

In Loving Highsmith, Vitija offers voice to the creator and the fragile intricacies of her private life. The movie embraces Highsmith as not merely a girl creator throughout an period when very particular — and conservative– gender roles have been the norm, but in addition as a girl figuring out as a member of the homosexual neighborhood. 

Patricia Highsmith puffs on a cigarette in a still for Loving Highsmith

The movie offers stunning voice, via Highsmith’s personal phrases, to the struggles many skilled throughout this period when the expectation was to adapt to the accepted societal norm. Highsmith writes poignantly about her struggles together with her sexuality. We hear in regards to the strain she acquired from her mom to marry.

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Highsmith’s description of her makes an attempt at forming romantic relationships with males is heartbreaking. Her writing acknowledges consciousness of who she is, but in addition a clear-eyed and painful sense of simply how a lot simpler life could be if she might simply discover a man enticing. At one level within the movie, via Christie’s narration, Highsmith describes kissing a teenage boyfriend as “falling right into a bucket of oysters.”

Probably the most in depth interviews come from Marijane Meaker. An creator herself, Meaker shared a home with Highsmith throughout their relationship. The ladies even left Manhattan for a quiet life within the nation the place they might simply be collectively. Within the interviews, we hear about each side of their romance. Meaker talks in regards to the early joys of the connection, Highsmith’s struggles with alcohol, their private dramas down to easily the difficulties of present as a lesbian couple in 1960.

As talked about, a lot of Vitija’s analysis in Loving Highsmith revolves across the ladies within the creator’s life. These are the writers, the performers and the lecturers who shared intimate, private bonds with Highsmith. In these offered reminiscences, we’re lastly listening to their voices. These are their tales. The voices of generations of LGBTQ people have been quashed through the second half of the twentieth century.

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Vitija, nevertheless, lets us hear these tales in all their ardour, their relatability and their humanity. At one level within the movie, Meaker strikingly emphasizes how typically Highsmith tried to be “regular.” Whereas society is commonly faster to acknowledge different existence in 2022, in 1960, these individuals typically needed to battle to be able to merely exist as themselves.  

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Patricia Highsmith relaxes in a still for Loving Highsmith

On the identical time, Vitija makes good use of interviews with Highsmith’s surviving household. Initially from Texas, the creator nonetheless has household within the area. Whereas the interviews aren’t confrontational, this footage’s presence reveals the dichotomy hanging over Highsmith’s very existence. The household isn’t overtly chilly or judgemental, however for lack of a greater phrase, they’re “outdated Texas cash”. There’s an unconscious divide between Highsmith and her household who appear to see the creator virtually because the quirky cousin. In taking a look at these quaint rural scenes, there’s a deliberate sense of the battle Highsmith will need to have felt to slot in and in that, a frustration that she didn’t.

Finally, Loving Highsmith brings a singular focus to the creator’s story. As talked about, the narrative is deeply invested in telling Highsmith’s private narrative. This can be a story that isn’t typically advised, even as we speak in 2022. Nevertheless, as a prolific author deeply engrained in mid-century in style tradition, this particular focus largely glosses over her artistic existence (exterior of Carol.)

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As a member of the New York social scene of the Nineteen Fifties, there’s a particular lack of consideration paid to the tradition round Highsmith. The nostalgia bug in me yearned for something about this shiny, fascinating period in leisure and sadly, the documentary left me wanting.

On the identical time, Loving Highsmith is a largely optimistic portrayal of the creator’s life. The filmmaker begins the documentary together with her personal narration and brazenly admits to falling in love with Highsmith via her diaries.

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As talked about, there’s some dialogue of her private struggles with melancholy and alcohol. Nevertheless, it’s tough to name this a “warts and all” evaluation. A fast scan over even the creator’s Wikipedia web page reveals a dialogue of complicated political and even some troubling private views.

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Highsmith’s political aspect is basically absent from Loving Highsmith. Vitija makes a short reference to those views (significantly the creator’s famous anti-semitism) on the very finish of the documentary. Nevertheless, it’s a passing second and within the scope of the constructed narrative is basically defined away by the creator’s advancing age and failing well being. Does a dialogue of those issues match inside this constructed narrative, no. Although, if this documentary goals to supply a fancy examination of Highsmith the creator, that is an oversight to actually understanding and understanding her as a girl and creator.  Patricia Highsmith clutches a cat.

When diving into Loving Highsmith, Eva Vitija’s documentary brings a clear-cut purpose. In a society that quashed and shied away from telling queer tales, this film rigorously and lovingly crafts a portrait of Patricia Highsmith as a girl attempting to dwell her personal life in the midst of the twentieth century.

The documentary has particular objectives in thoughts and it definitely accomplishes what it units out to do. Is that this documentary a well-rounded examination of Patricia Highsmith the girl and the author? No. It leaves lots unsaid and unexamined in her complicated historical past. Nevertheless, the story it chooses to look at is poignant and well-developed in its therapy of her expertise as a queer-identifying lady in the midst of the twentieth century. 

Loving Highsmith has been enjoying the movie competition circuit all through the summer time. Maintain a watch out for it at unbiased theaters across the nation starting September ninth. 

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Take a look at our different film evaluations, right here! 

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Movie Reviews

Rex Reed’s 2024 Movie Review Roundup: A Masterclass in Blistering Honesty

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Rex Reed’s 2024 Movie Review Roundup: A Masterclass in Blistering Honesty

Rex Reed’s scalpel was particularly sharp in 2024, slicing through 43 films with the kind of ruthless precision only he can wield. This was the year he likened Mean Girls to “cinematic Covid,” torched Longlegs as a “dumpster fire,” and suggested that Cash Out had John Travolta so lost, “somebody stage an intervention.” For those seeking unfiltered truths about Hollywood’s latest offerings, Reed delivered—though not without a handful of pleasant surprises.

His ratings reveal a critic tough to impress: 28 percent of films earned 1 star, while 5 percent received the graveyard of zero stars. Horror films bore the brunt of his wrath—Longlegs and Heretic were sacrificed at the altar of his biting prose. Yet, amid the wreckage, 5 percent clawed their way to 4 stars, with dramas like One Life and Cabrini standing out for their emotional gravitas. Biopics, historical narratives and character studies fared best under his gaze, suggesting Reed still has a soft spot for films anchored in strong performances and rich storytelling.

One of the more controversial reviews? Reed’s glowing praise for Coup de Chance, which he called “Woody Allen’s best film in years.” In an industry where few dare applaud Allen publicly, Reed’s unapologetic endorsement (“unfairly derailed by obvious, headline-demanding personal problems”) was as bold as ever. Interestingly, the most-read review wasn’t the most positive—The Last Showgirl dazzled readers, perhaps more for the spectacle of Pamela Anderson’s Vegas reinvention than the film’s plot. It seems Reed’s audience enjoys his kinder takes, but they revel in his cinematic eviscerations just as much. When Reed loves a film, he ensures you know it—just as he ensures the worst offenders are left gasping for air.

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Movie Reviews

Movie Review: A Locksmith lives to Regret Taking that One “Night Call”

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Movie Review: A Locksmith lives to Regret Taking that One “Night Call”

I’m of two minds about that subgenre we call the hero/heroine with “particular skills” thriller.

The parade of Liam Neeson/Jason Statham/John Cena et al action pictures where this mobster, that rogue government or rogue government agency or creepy neighbor crosses this or that mild-mannered man or woman who turns out to be ex-CIA, a retired Marine, a former assassin or Navy SEAL has worn out its welcome.

Somebody effs around, somebody finds out they’ve “Taken” the wrong relative, crossed the wrong professional mayhem-maker. Yawn.

It’s always more interesting when somebody a lot more ordinary is tested by an extraordinary situation, and by people ostensibly a lot more capable of what Mr. or Ms. In Over Their Heads is attempting. “Three Days of the Condor” is the template for this sort of film. A more recent example is the snowplow operator tracking down and avenging himself on his son’s mob killers — “In Order of Disappearance.”

Throwing somebody with one “particular skill” that doesn’t include violence, criminal or espionage subterfuge or the like? As an exercise in screenwriting problem-solving that’s almost always a fun film to watch. That’s why I have high hopes for Rami Malek’s upcoming spring fling, “The Amateur.”

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Let’s hope that’s as good as the lurid, violent and tight-as-a-drum Belgian thriller, “Night Call.” A young man (Jonathan Feltre) is tricked, trapped and life-or-death tested by one long night at work.

Mady is a student, we gather, and a native-born Belgian with a thing for Petula Clark ’60s pop — in French. His night gig is as a locksmith. On this one night, that job will get him into trouble despite his best efforts to avoid it. And his “particular skills” and the tools of his trade will come in handy just enough to make you mutter, “clever, clever boy” at the screen and what writer-diector Michiel Blanchart has cooked-up for his feature filmmaking debut.

Mady’s the guy you summon when you’ve locked yourself out of your car, business or flat in the wee hours. He’s professional, courteous and honest. No, the quoted price — 250 Euros — is all you owe.

He’s also careful. The young woman named Claire (Natacha Krief) summons him to a Brussels flat she’s locked out of. She doesn’t have the 250. It’s in her purse, in her flat. With her keys. No, that’s where her ID is, too. As she’s flirted, just a bit, and the streets all around them are consumed by Black Lives Matter protests because Black people die at the hands of white cops in Belgium, too, he takes her word for it.

Mady might be the last to figure out that her last lie, about “taking out the trash” (in French with English subtitles) and hitting the ATM downstairs, is her get-away. When she rings him up and warns him to “Get OUT of there” (in French with subtitles) he’s still slow on the uptake.

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That’s when the apartment’s real resident, a musclehead with a punching bag and lots of Nazi paraphrenalia on the walls, shows up and tries to beat Mady to death. He fails.

But can a young Black man call the possibly racist cops about what’s happened and have them believe him? Maybe not. It’s when he’s trying to “clean” the scene of the “crime” that he’s nabbed, and his night of hell escalates into torture, threats and attempts to escape from the mobster (Romain Duris at his most sadistic) in pursuit of stolen loot and the “real” thief, the elusive but somehow conscience-stricken “Claire.”

As Hitchcock always said, “Good villains make good thrillers.” Duris, recently seen in the French “The Three Musketeers” and “The Animal Kingdom,” famous for “The Spanish Apartment” and “Chinese Puzzle,”, is the classic thriller “reasonable man” heavy.

“Either you become a friend, or a problem,” his Yannick purrs, in between pulling the garbage bag off the suffocating kids’ head, only to wrap Mady’s face in duct tape, a more creative bit of asphyxiation.

The spice that Blanchart seasons his thriller with is the backdrop — street protests, with Black protesters furious that Mady isn’t joining them and riot police pummeling and arresting every Black face in sight. That’s jarringly contrasted by the oasis-of-calm subway and unconcerned discos where Mady chases clues and Claire.

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A getaway on a stolen bicycle, dashing through streets and down into a subway station, suspense via frantic escapes, frantic bits of outwitting or outfighting crooks and cops, a decent confrontation with the not-cute-enough-to-excuse-all-this Claire and a satisfying “ticking clock” finale?

That’s what makes a good thriller. And if those “particular skills” show up here and there, at least we know Mady’s learned something on a job that if he lives to finish school, won’t be his career.

Rating: unrated, graphic violence, sex scenes in a brothel

Cast: Jonathan Feltre, Natacha Krief, Jonas Bloquet, Thomas Mustin and Romain Duris.

Credits: Scripted and directed by Michiel Blanchart. A Magnet release.

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Running time: 1:37

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Movie Reviews

'Cunk on Life' movie review: Laugh-out-loud mockumentary on life’s big questions

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'Cunk on Life' movie review: Laugh-out-loud mockumentary on life’s big questions

‘Cunk on Earth’ (2023), a mockumentary series on BBC, was hailed for its laugh-aloud mockery of pretentious documentaries and Morgan’s razor-sharp comedic timing — British droll at its very best.

Rashmi Vasudeva

Last Updated : 04 January 2025, 03:01 IST

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