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It's a Wonderful Life
5 years ago via Flixster

"Strange, isn't it? Each man's life touches so many other lives. When he isn't around he leaves an awful hole, doesn't he?"

A Christmastime staple, Frank Capra's It's a Wonderful Life is a rare film which has withstood the test of time and continues to touch millions of people through its themes, boundless appeal, and emotional power. Placed alongside such movies as Miracle on 34th Street or National Lampoon's Christmas Vacation, It's a Wonderful Life is not exactly a typical Christmas movie since only its finale happens on Christmas Eve and it has nothing to do with Santa Claus or gift giving. Nevertheless, it encapsulates the true spirit of the holiday: the value of family and friends, and the importance of giving rather than receiving. On top of this, It's a Wonderful Life can be watched any time of the year because of its feel-good themes and the message it conveys about the significance of a single human soul.

The story kicks off on Christmas Eve, as a chorus line of prayers are heard coming from the small town of Bedford Falls pleading for the angels to assist the despairing George Bailey (Stewart). The unsung hero of Bedford Falls, George was anxious to travel the world and head to University when he was a young man, but was forced to relinquish his dreams and manage his late father's business to ensure that it won't fall into the hands of wealthy schemer Mr. Potter (Barrymore). George has always acted in the interests of others before serving himself, and in his adult life he marries the beautiful Mary (Reed) and has a handful of wonderful children. However, financial problems and personal issues suddenly begin to mount, overwhelming George and plunging him into a tragic abyss of despondency. Enter George's guardian angel Clarence (Travers), who is sent from heaven to heighten the depressed man's spirits. In order to achieve this end, Clarence shows George what the world would have been like if he had never existed.

The first two-thirds of It's a Wonderful Life are spent in flashback, with Clarence learning about George's background and seeing the events leading up to his suicide contemplation. Such a device is a structural masterstroke; it allows a chance for viewers to see George's past and it permits room for George's character to be meticulously developed while the knowledge of his depression sits at the back of our mind. Conveying enough material to constitute a separate movie on its own, Capra accommodated the full breadth of George's existence and treated it with the care it deserved. We become immersed in George's existence and we fall in love with the man, and it seems impossible that anything could threaten to destroy his life. This kind of gentle, enthralling character development is gratifying and essential, letting us see what's at stake when Clarence at long last travels down to earth to meet George. And since we grow to love George so much, the climax is all the more poignant (almost unbearably so).

It's a Wonderful Life is such an effective feel-good movie because it asserts the notion that everyone, regardless of how insignificant they may seem, has the capacity to make a difference. Life is described as "God's greatest gift", and the film delivers the message that worldly riches mean nothing compared to love, family, friends, honesty and integrity; qualities which are far more valuable than other fleeting items of value which are so often held in higher regard. All of this converges for the goosebump-inducing finale which never fails to leave this reviewer a blubbering mess. Anybody who isn't moved by the flick's final few minutes should wonder what the heck is wrong with them. Additionally, It's a Wonderful Life is so often referred to as cheesy and sentimental, but it's surprisingly dark at times. The imminent lead-up to George's depression is heart-wrenching in how bleak it is, and George's lurid odyssey through Pottersville - a community in which he was never born - contains noir-ish traces, as it's realistically gloomy.

With Capra having made the most of his estimated $3 million budget, It's a Wonderful Life is a technically impressive picture indeed. The fictional town of Bedford Falls seems completely real, as Capra's crew constructed an elaborate main street consisting of dozens of buildings and stores. It feels lived-in and real, not like something situated on a studio back-lot. Additionally, filming took place during summer months, meaning that snow had to be artificially created. Fake snow often fails to convince, but every flake of snow in It's a Wonderful Life looks authentic. If anything is to be criticised (though perhaps that's too strong of a word), it's that there are a few technical faults, like a wide shot not precisely matching a close-up. But such shortcomings don't matter at all, as Capra's direction is stunning. His sense of pacing is magnificent, and each shot is infused with enthralling visual flair. And while the film is vehemently a drama, gentle humour is scattered throughout, making the film even more of a delight.

While Frank Capra and his team of credited screenwriters deserve some of the recognition for It's a Wonderful Life's brilliance, it's James Stewart's immaculate performance that truly makes the film work. Stewart infused George Bailey with a deft mixture of innocence and veracity, not to mention humanity and fallibility that has viewers rooting for him from the outset. Stewart fits the role like a glove - he's amiable and convincing, and his desperation and despair is increasingly apparent when he's submerged into the vision of Pottersville. Equally excellent is Donna Reed in the role of Mary. Reed wasn't Capra's first choice, but it's hard to imagine anyone else in the role, as she embodies the sweetness that was required to capture George's heart. Meanwhile, as George's guardian angel, Henry Travers is completely charming. The rest of the supporting cast is just as excellent - Lionel Barrymore's performance as the wicked Potter is full of cunning and malice, while Thomas Mitchell was a great pick as the lovable (albeit incompetent) Uncle Billy. Capra never allowed a faulty moment of acting to sneak into his picture.

With It's a Wonderful Life's strong reputation and almost unanimous acclaim, it's difficult to believe that it wasn't a hit during its theatrical release. Reviews were mixed and the box office earnings were underwhelming, dooming Capra's newly established production company. It was nominated for a few Academy Awards, but won nothing. Subsequently, It's a Wonderful Life fell into relative obscurity until the picture's copyright expired and it entered the public domain, meaning that television stations could play it ad nauseum without having to pay royalties. Thus, it was used as a time-filler for the Christmas season, allowing it to be rediscovered by a whole new generation. At last, reviews were almost uniformly positive and It's a Wonderful Life became bestowed with the love and acclaim that it always deserved. Indeed, if It's a Wonderful Life was never born, the world would have been worse off for it.

"You see George, you've really had a wonderful life. Don't you see what a mistake it would be to just throw it away?"

Submarine (2011)
5 years ago via Flixster

"My mother is worried I have mental problems. I found a book about teenage paranoid delusions during a routine search of my parents' bedroom."

Adapted from the 2008 novel by Joe Dunthorne, Submarine is the feature-film debut for director Richard Ayoade. Ayoade has been somewhat of a British television comedy luminary over recent years, with appearances on shows like The IT Crowd and Garth Marenghi's Darkplace, the latter of which he directed and co-wrote. For his first film, Ayoade has predominantly eschewed his established form of comedy to concentrate more on poignant drama, rendering Submarine a shrewd drama-comedy about teen angst and the harsh realities of young love. While it does provide the occasional laugh, this is more of a quirky, almost arthouse-style fare. Suffice it to say, it's an acquired taste, but those who can tolerate the material may find this to be an enjoyable coming-of-age fable benefitting from a dry sense of humour and idiosyncratic visuals.

Oliver Tate (Roberts) is a 15-year-old from Wales with an active imagination. In his free time, he enjoys memorising new words in the dictionary and listening to music by French crooners, not to mention committing the occasional act of petty arson. As he endures the British school system of the late '80s, Oliver's parents hit a spot of marital trouble that's exasperated when Jill's first love, a psychic named Graham (Considine), moves into their neighbourhood. Panicking, Oliver starts working to keep his parents from splitting up, but the domestic trouble is nothing compared to his experiences with quirky classmate Jordana (Paige) who agrees to have a relationship with the naïve lad.

Split into three chapters that are bookended by a prologue and an epilogue, Submarine doesn't shy away from exploring the highs and lows of teenage love, not to mention the inanity of teen behaviour. Oliver wants to believe he's emotionally mature, but this is contradicted by his actions at times. For instance, he tries to remake Jordana in his own image by giving her books he enjoys and taking her to see The Passion of Joan of Arc. Additionally, Oliver tries to be wise while working to reconcile his parents' crumbling marriage, but his methods are juvenile. We're also given a glimpse into Oliver's psyche via constant narration and scenes depicting the protagonist's self-obsessed fantasies. Ayoade's love for cinema is on display from time to time as well, with Oliver's internal monologues discussing movie clichés and even predicting what a biopic of his life would be like. Pretty much the entire story is told from Oliver's perspective and is filtered through his viewpoint, allowing Submarine's visuals to say as much about Oliver's character as the actor playing him. Consequently, this is more than just an eccentric arthouse flick with nothing to say - it's a celebration of the idealism, brutality, innocence and stupidity of youth.

Guided with a sure directorial hand belying Ayoade's status as a first-time filmmaker, Submarine is a visually striking flick which impressively captures the time and place of Britain in the 1980s. Ayoade ostensibly borrowed from Wes Anderson's playbook for his mise-en-scène, with matter-of-fact shot construction, blocky chapter titles and dry humour. Ayoade also employed a variety of techniques to bring vivid life to Oliver's mind, though the flick's overriding atmosphere is grim and dank thanks to the constantly miserable weather. Meanwhile, the quirky, well-chosen soundtrack serves as a nice aural complement to the story. Narratively, the only flaw with Submarine is an out-of-place subplot that seems major but leads nowhere. Early in the story, Oliver feels guilty when he playfully taunts heavy-set girl Zoe (McCann) with a few classmates, causing the bully victim to transfer to another school. To atone for this, Oliver tries to contact Zoe through the school lunch lady, but the subplot is immediately dropped after this. There's no satisfying payoff to Zoe's story, and in the long run this stuff comes off as an unnecessary distraction. Admittedly, too, the pacing begins slowing down during the third act.

Craig Roberts is pitch-perfect as Oliver Tate, effortlessly selling the character's wild imagination, contrived maturity, and utter naïveté. Alongside Roberts, Yasmin Paige is a delightful presence, and her performance allows us to understand why Oliver would be so smitten with her. Paige's key strength is in her ability to simultaneously play merry and moody, and she's able to comes off as uniquely quirky without seeming forced. Then there's Paddy Considine (Dead Man's Shoes) in the supporting role of the insipid New Age mystic who poses a threat to the marriage of Oliver's parents. Considine is a frequent scene-stealer thanks to his high energy levels. Meanwhile, in more minor roles, Sally Hawkins and Noah Taylor are understated yet incredibly rich as Oliver's mother and father. Also keep an eye out for Ben Stiller, who executive produced the film and who has a quick cameo as an actor in a soap opera.

One could contend that Submarine is a paint-by-numbers coming-of-age tale, and that it ends on a very familiar note of hope. At the very least, though, the ending feels earned, and Ayoade refused to close the film on a completely blatant, artificial note. Submarine may not be a game changer, but it does give vibrant new life to an old story. Ayoade is definitely a filmmaking talent to keep your eye on.