The Beach The Beach Directed by Danny …

Written by Godfrey Cheshire on . Posted in Arts & Film, Posts.



The Beach
Directed by
Danny Boyle
The
Beach
, the Leo-goes-tropical movie, sends the newly
buff DiCaprio to a remote Thai island where a group of Western dropouts has
decided to stay forever, keeping the place hidden and the world out. Thanks
in no small measure to Darius Khondji’s gorgeous widescreen cinematography,
this seaside hideaway looks as spectacular as it is legendarily supposed to
be. But people keep referring to it as "paradise," which I take mainly
as a sign of the ill-educated, metaphorically muddled times we live in. They
don’t mean paradise. They mean Eden–you know, Garden of.


The Beach will, I
think, do really well at the box office not only because it offers Leo sans
shirt in his first post-Titanic role, but also because it will be (misleadingly)
advertised as an "escape to Paradise"–and who wouldn’t want
that? In the middle of a punishing winter (the film’s release could not
have been more perfectly timed), those acres of white sand and aquamarine shallows
under a golden sun do look damn inviting. But I would also hazard that the movie
won’t do super-spectacular (i.e., Titanic-scale) business because
its narrative is Edenic, not paradisical, and people generally don’t
like their imaginary holidays freighted with moralistic reminders of death and
human imperfection.


The film comes to us from
a team that, to me, was not only the most interesting example of filmmaking
talent to emerge from Britain in the 90s but also an extremely intriguing model
of collective creativity. Director Danny Boyle, producer Andrew Macdonald and
screenwriter John Hodge (who here adapts Alex Garland’s novel) were, in
fact, the only Brits to make a real go of imitating the Amerindie ethos of the
last decade. Their low-budget debut, the Scottish crime comedy Shallow Grave,
borrowed pages from the Coen brothers successfully enough to win a share
of international renown. It also positioned them to do the screen version of
Irvine Welsh’s acclaimed novel Trainspotting, which became an humongous
hit in Britain and a fair-sized one elsewhere.


Really sharp filmmaking
talent being as rare as it is in Blighty, I was a bit disappointed to see these
guys decamp to the U.S. with their third feature, the underrated screwball comedy
A Life Less Ordinary. But to give them their due, they never promised
otherwise. They were obviously in love with American movies from the get-go,
and their genial lack of pretension meant that they positioned themselves not
as high-flown artists but as superior entertainers, which they indubitably are.


Adhering to a Three Musketeers
ethic (they were four, with actor Ewan McGregor, prior to Leo’s advent)
has presumably helped them withstand the fragmenting pressures and business
vagaries of Hollywood, at least more than any single filmmaker would be likely
to. Individually, Boyle would simply be another element in a studio package.
As is, he, Macdonald and Hodge are like a mini-studio within a studio (for the
last two pictures, 20th Century Fox), which accords them the kind of leverage
that accrues to a united front. There is a lot of practical advantage–even
wisdom–in such an arrangement. Yet while it’s surely worth the scrutiny
of other young filmmakers, it presumably works due to a degree of personal chemistry
far exceeding that exemplified by the three main characters of The Beach
(or for that matter, of Shallow Grave).


Indeed, the loose-knit theme
of their movies to date is the difficulty twentysomethings face trying to maintain
the bonds of affection when circumstances turn nasty. In The Beach, Leo,
playing an American sojourner named Richard, is not alone for long. He lands
in Bangkok doing the typical backpacker-in-search-of-exotic-thrills thing, and
soon enough is staying in a grotty dive where an evidently half-cracked Brit
named Daffy (Trainspotting’s Robert Carlyle) gives him a map showing
the insular location of the mysterious Beach, then promptly turns up dead, seemingly
by his own hand. You can’t imagine Gary Cooper itching to share such information,
but Richard, being a contemporary youngster, craves companionship and so invites
along a young French couple he’s spotted in the hotel, Françoise
(Virginie Ledoyen) and Etienne (Guillaume Canet).


I’m not sure whether
to compliment Leo’s acting or his casting, but his Richard is convincingly
shallow, superficial, all but empty. The movie passingly shows him playing Nintendo
even in moments of crisis; it also repeatedly demonstrates how selfish and insecure
he is in the presence of women like, of course, Françoise, who both attracts
and frustrates him from the first. If The Beach were obviously not trying
hard to appeal to a young audience, it could be played more cuttingly and directly
as a satire of the self-absorbed childishness of young Americans like Richard,
who’s noticeably less mature than his French companions.


But it’s immaturity
of a more general sort that this tale aims to expose. Richard and his companions,
on reaching the coast, are obliged to swim to the island that contains the Beach.
Once there, they discover that the island is split between a bunch of Thai thugs,
who guard their well-cultivated marijuana fields with automatic weapons, and
a colony of Western young people who think they’ve found the perfect refuge
in the Beach and mean to stay forever. This coexistence is tenuous at best.
The thugs have made it clear that they want no one else coming to the island,
and though the colonists welcome Richard and the French as new recruits, their
ethos demands that–in the name of fun–they shun the outside world.


While the author and makers
of The Beach apparently wince at comparisons to Lord of the Flies,
the movie’s actually more like a hybrid of Capra’s Lost Horizon–with
a Shangri-La that’s tropical rather than alpine–and a nontraditional
Swiss Family Robinson. But as allegory is not a form that comes naturally
to many contemporary fictioneers, The Beach could use some of William
Golding’s facility in that department. The film’s at its most persuasive
and enjoyable early on, when it’s in a mood of adventure and discovery.
When it reaches its eponymous destination and Significance looms, the narrative’s
gears begin to grind.


What are we supposed to
make of this band of willful castaways, who ask only that life be a permanent
vacation? For a moment, mindful of the snowy slush outside the theater, you
can’t help but embrace the beguilement of the film’s conceit. And
Boyle’s skillful enough at creating a sunny sensual wraparound that, at
least until a couple of hours after the movie’s over, you don’t think
of Gilligan’s Island and wonder if Leo ever frets about ending up
as his generation’s Bob Denver.


The problem at the film’s
center is that the island colony doesn’t register as a collection of real
people who’ve worked out a common ethos and a practicable form of self-governance.
Instead, as happens in a lot of second-rate imaginative literature, they come
off as the rather forced and reductive realization of an, ahem, Idea. That concept
is clear enough: these First Worlders think they’ve escaped greedy materialistic
Western society to live in a kind of Bain de Soleil communism, but in fact they’ve
simply traded one form of selfishness for another. When push comes to shove,
they–and especially their de facto queen bee, Sal (Tilda Swinton)–are
willing to kill their friends to maintain their swell lifestyle.


Since this is no more profound
than it sounds, Boyle and company have to keep revving things in order prevent
the underlying ridiculousness from showing through. Thus Richard has an improbable
fling with Françoise, gets seduced by Sal, escapes the sharks that leave
big holes in the escapism of some of his fellows, and later takes to imitating
Martin Sheen in Apocalypse Now while doing penance for having given out
a map to the island before leaving the mainland. (Naturally, though the filmmakers
make a couple of glancing attempts at humanizing the Thai pot militiamen, they
still come off as Others typically do in the post-Midnight Express genre
of Whitebread Innocents Abroad.) And climactically of course, there’s the
wow-heavy realization that Eden always gets fucked up by its fallible, me-first
human inhabitants.


The shame is, the obvious
ideas that The Beach trumpets conceal others that might’ve proved
far more fruitful. In recent times, only The Blair Witch Project has
cleverly probed the question of what happens to young people who’re pushed
out of technology’s womb and made to confront the remnants of nature. What
the kids in that film discover is a lot more sobering and intellectually provocative
than the aborted vacation that is The Beach’s predictable destination.



Reeling
The Sundance Film
Festival’s year 2000 edition struck a lot of my colleagues as its most
interesting and productive year in a good while, which made for a felicitous
transition from the esthetically unstable indie-film 90s into the coming decade
of digitization. Since I was only at the festival a few days, I can’t evaluate
its overall results, but I did see two films that really stood out.



Setting Ethan Hawke as the
Prince of Denmark in contemporary Manhattan sounded unpromising at best, but
Michael Almereyda’s Hamlet turns out to be an extraordinarily fascinating
and accomplished movie that, in terms of Shakespeare adaptation, easily trumps
the likes of Julie Taymor’s Titus and Baz Luhrmann’s Romeo
+ Juliet
. Almereyda has assembled an ingeniously offbeat cast–besides
Hawke, who’s very good, there’s Kyle MacLachlan as Claudius, Bill
Murray as Polonius, Julia Stiles as Ophelia, Liev Schreiber as Laertes, Karl
Geary as Horatio–that does consistently inspired work, but even more impressive
is the assurance that bridges his grasp of the material and his sense of present-day
New York as the perfect place to reimagine it. Making the most of the city’s
castle-like skyscrapers and steel and glass escarpments, Almereyda’s style
has a cool Godardian sheen that always manages to be intelligent, controlled
and understated just when it might’ve turned showy and obvious. I can’t
wait to see this Miramax release again when it opens in May.


Tom Gilroy’s Spring
Forward
may or may not get a Miramax-sized distributor, but it’s the
kind of film that’s destined to win friends wherever it plays. A subtle
character study that becomes richer and more affecting as it moves through the
seasons, it focuses on the bond of friendship that gradually emerges between
an older parks-department employee (Ned Beatty) and the young ex-convict (Liev
Schreiber again) who becomes his partner. One of the effects of Gilroy’s
unhurried pacing, which pays attention to the natural changes that surround
his characters, is to remind us how addicted to the arid mechanics of plot most
movies have made us. Like Mike Leigh and Ken Loach, Gilroy instead puts the
emphasis on people–actors as well as the roles they play–and the result
builds toward an epiphany that’s as emotionally rich as it is genuinely
earned. In the process, he also gets superb performances from Beatty and Schreiber,
wonderful actors who’ve seldom been better than they are here. I hope New
York will have a chance to see this quietly moving film before many seasons
pass.


All three New York Press
members of the New York Film Critics Circle have contributed to the American
Museum of the Moving Image’s current, Circle-programmed series of overlooked
and underseen movies of the 90s. This Saturday, Feb. 12, at 4:15, Matt Zoller
Seitz will introduce his selection, the 1991 Australian film Flirting,
at AMMI. Here’s what Matt says about the film:


"Writer-director John
Duigan’s interracial romance, a sequel to his 1987 classic The Year
My Voice Broke
, is set against the socially repressive environment of boys’
and girls’ schools in Australia. It’s a romantic and moving film,
and one of the few to treat teenage love with real tenderness and respect. Noah
Taylor is slyly funny as the hero, a white kid from the outback going to a private
boys’ school on scholarship; the lanky, soft-spoken, reactive character,
based loosely on Duigan himself as a young man, has a rueful self-awareness
that suggests a smarter, less impulsive Holden Caulfield. Thandie Newton is
poised and sharp as his girlfriend, the daughter of a Ugandan diplomat who doesn’t
understand why her classmates think sex and race are such big deals. Moving
effortlessly from awkward Friday night dances to grudge prizefights to furtive
sex and revolutionary upheavals, this is one of the most assured movies of its
kind ever made. It’s knockdown funny, too."


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