The Rise and Fall of Female Celebrities: Films reviewed: The Eyes of Tammy Faye, France, Spencer

Posted in 1980s, 1990s, Biopic, Corruption, France, Journalism, Religion, Royalty, UK, US, Women by CulturalMining.com on September 18, 2021

TIFF is almost over now, but there’s still one day left to see some films. And although there aren’t many famous people appearing on King St this year, there are a lot of movies about celebrities. How they rise to fame and how they are often brought down again by the voracious papparazzi-fueled press. So this week I’m looking at three TIFF movies — two biopics and one dramedy — about female celebrities who just want to be loved. There’s a newscaster in Paris who is part of the news; a princess in England who is part of the royals; and a televangelist who is the target of the mainstream press.

The Eyes of Tammy Faye

Dir: Michael Showalter

Tammy Faye (Jessica Chastaine) is a televangelist. Born in International Falls, Minn, a small town on the Canadian border, she is raised by a strict mother (Cherry Jones) who calls her a harlot. She is born again in a Pentecostal church where she is speaking in tongues at an early age. At bible college she meets her future husband, Jim Bakker (Andrew Garfield). He rejects the dour talk of sin and instead subscribes to a charismatic evangelism, one where all are welcome, regardless of belief or denomination. Wealth, not poverty, is desirable. Tammy loves his ideas and him. But she wears makeup and bright colours, and they end up in bed together and eventually married. 

They are expelled from the school, but bounce back. Tammy makes an ugly little puppet out of a bubble bath container to attract kids to revival meetings. Their popularity takes off and before you know it, they’re regulars on Pat Robertson’s Christian TV show. They break away to form their own satellite-powered TV network, attracting viewers and followers worldwide — people who enthusiastically send tons of cash to keep the show going. Tammy’s songs hit the Christian music charts while Jim expands their financial holdings, opening theme parks and other ventures. Tammy and Jim love the wealth and luxury their show brings in — the mink coats and fancy homes. Their sex life, however, takes a dive. Neglected by her husband, Tammy is attracted to handsome men — and, so it seems, is Jim. She turns to Ativan and Diet Coke to keep her engine running. But they’re facing trouble. The mainstream press exposes scandal after scandal. And lurking in the background is the Christian Right, led by the notorious Jerry Fallwell (Vincent D’Onofrio). Can their marriage last? Will their financial empire stay afloat? Will Tammy’s mom ever respect her? And will the people always love her?

The Eyes of Tammy Faye is a stylized, tongue-in-cheek biopic about the rise and fall of a televangelical superstar. The title refers both to her gaudy false eyelashes as well as the trademark tears she could generate on command. Jessica Chastain creates an unforgettable character  through the use of facial prosthetics and heavy-duty makeup as she ages. She mainly plays Tammy for the laughs — there’s a wide streak of camp running through the whole film — but there is some heart behind it. And on the serious side, it points out her advocacy of AIDS patients, just when Falwell was publicly attacking them. I quite enjoyed the movie, it’s a lot of fun with tons of flashy colour and splashy music. It’s clearly Oscar bait — this is Jessica Chastain looking for golden statues — but that doesn’t detract from the enjoyment of watching it.

France

Wri/Dir: Bruno Dumont

France de Meurs (Léa Seydoux) is a TV news reporter in Paris like none other. One day she’s flying off to a war front in the Sahel, the next she’s mediating between two political commentators. She’s beautiful, talented and loved by millions. At a presidential press conference she can upstage Macron. Her husband Fred is a novelist, and they live with their son Jojo in a flat thats more of an art museum than a home. And with the constant help of Lou (Blanche Gardin), her assistant and manager, she navigates from one success to the next. She’s untouchable. Until something throws her off kilter. Her car, caught in traffic, accidentally bumps a young man on a motorbike hurting his leg. Baptiste is working class, the son of Algerians. France is mortified and goes out of her way to  visit his family, showering them with gifts. But a deep-down depression has taken hold.

Her self confidence is fading and she’s prone to breaking into tears at the first provocation. Fred finally sends her to an alpine spa to recover, where she meets a guileless young man named Charles (Emanuele Arioli) who has never heard of her. Is he the answer to her prayers? Or just her latest obstacle as she falls deeper and deeper into her abyss?

France is a satirical dramedy about France (the country) its politics, celebrities and news media. Like the 1987 film Broadcast News it exposes the falsity and contrivedness of the news industry — their posing, re-shooting of answers in interviews, and the staging of news scenes during a war. But just as the film exposes the tricks and manipulation of reporting, Bruno Dumont (the filmmaker himself) relies on his own contrived story. Poor France! She’s subject to Dumont’s morbidly humorous plot turns, inflicting more and more calamities on his poor hapless character. France de Meurs is Dumont’s Job. 

The film kept me interested all the way through, and Lea Seydoux is really good in her role as a manipulative but likeable celebrity, but it goes on way too long — one of those movies that feel like they’re about to end, but don’t.

Spencer 

Dir: Pablo Larraín

It’s Christmas Eve in 1990.

Princess Diana (Kristen Stewart) is late for lunch. She’s driving to Sandringham Castle and and has lost her way. She grew up on a country home nearby. Eventually she is rescued by Darren the palace chef (Sean Harris) who runs his kitchen like a military battalion. But Diana doesn’t want to be there. She hates the weird family traditions she’s forced to follow. Things like sitting on a scale when you enter to see how many pounds you’ll gain feasting over Christmas. Not much fun for someone with Bulimia. She dreads the clothes and jewels she’s forced to wear, and can’t stand the family dinners — she thinks the royals can all read her mind. Her only allies are her young sons William and Harry, with whom she can act like a normal mom; and her dresser and confident Maggie (Sally Hawkins) whom she can tell anything.

Why is she so distraught? Because she knows her husband is having an affair. The constant hounding by the dreaded cameramen is deadly, but even worse are the palace rules, enforced by a cryptic royal military officer. Major Alistar Gregory (Timothy Spall) feels it’s his duty to police everything she does — and she despises him for it. He sews her curtains shut — to stop the photographers, he says — and banishes Maggie from the castle. And as the three days around Christmas come to pass, her depression and anger makes way for paranoid delusions. Is she a princess or a prisoner? And can she ever get away from this awful, gilded life?

Spencer is an experimental film that looks at three days of Diana’s life, her last ones spent as a member of the royal family. It’s beautifully done, but in a highly interpretive way. She is constantly haunted by the ghost of Anne Boleyn who was killed by Henry VIII. She seeks solace in a scarecrow she finds on her father’s estate next door. And her dreams, fantasies and realities start to blend.  This is a beautiful movie, marvellously made. At certain angles Kristen Stewart does look like Diana, but this is really a fictional interpretation of the character she creates. She doesn’t try too hard to match her class and accent, just her thoughts  and mood. If you’re a stickler for historical accuracy and stodgy characters, this one’s not for you. But if you approach it instead as an experimental and surreal character-study of a troubled woman, I think you’ll love it like I do

All three of these movies played at TIFF. Spencer opens in November, The Eyes of Tammy Faye starts this weekend — check your local listings.

This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com

A More Perfect Union. Films reviewed: The Big Sick, The Beguiled, In the Name of All Canadians

Posted in 1800s, Canada, Disease, documentary, Indigenous, Romantic Comedy, Rural, Women by CulturalMining.com on June 30, 2017

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

With the 150th anniversary of Confederation in Canada and the 4th of July south of the border, this is a long weekend with lots of movies to watch. This week I’m looking at two comedy/dramas from the US and a documentary from Canada. There’s a comedian coping with blind dates, a girls’ school dealing with a wounded soldier, and a country coming to terms with a new constitution.

The Big Sick

Dir: Michael Showalter

Kumail (Kumail Nanjiani) is a stand-up comic who wants to make it big. He’s a self-described numbers geek, who is into the X-Files and corny horror movies. He’s dating Emily (Zoe Kazan), a young woman he met at the comedy club, and their relationship is getting serious. But Kumail has a secret. His Pakistani-American parents (Anupam Kher, Zenobia Shroff) insist their son marry a Muslim-Pakistani woman, and constantly surprise him with blind dates. His parents don’t know about Emily and she doesn’t know about his arranged dates. Everything goes well until Emily uncovers Kumail’s “X File”, a cigar box filled with photos of all the women he secretly dates and rejects. She is livid and never wants to see him again. But the next time he hears from her she is in hospital on her deathbed with a mysterious ailment, the “big sick” of the title. He stays by her bedside as she falls into a coma. Things get complicated when her parents Beth and Terry (Holly Hunter and Ray Romano) arrive. They know all about his secrets and lies and don’t trust him. But their relationship grows as they cope with Emily’s troubles together. Will Emily recover? Can she forgive Kumail? And can he tell the truth to his family?

The Big Sick is a very sweet romantic comedy mainly about the relationship of a young man and his true love’s parents. Spoiler Alert: it’s based on Kumail and Emily’s real life story, so obviously she didn’t die. I liked that it doesn’t succumb to crass toilet humour but instead finds jokes in the normal life of a standup comic. Holly Hunter and Ray Romano are especially good as the parents. A good date movie.

The Beguiled

Dir: Sofia Coppola

It’s rural Virginia during the US Civil War, where a school for young ladies remains untouched by the war raging all around them. There, beautifully dressed women study literature, French, music and the bible, seemingly oblivious to the mayhem outside the school’s wrought-iron gates. There’s the imperious Miss Martha (Nicole Kidman); dowdy Miss Edwina (Kirsten Dunst); the recently grown-up Alicia (Elle Fanning) and nature-loving little Amy, among many others. They live in harmony in an old plantation house with two-storey, ionic columns, but no slaves, mind you – they all ran away. No one has breached the gates so far. Until one day, young Amy is out picking mushrooms and she finds a wounded yankee soldier. Corporal John McBurney (Colin Farrell) says he joined the Union army straight off the boat from Dublin. Now he’s a deserter. Can the ladies help him?

Miss Martha sews up his wounds lets him stay, but only as a prisoner. That’s when the corporal turns the charm level to high and begins beguiling and seducing all the girls and women. You’re the most beautiful woman I’ve ever met, he tells one. You’re the one I like the best, he tells another. We have a special bond he says to a third. Soon, the women are fighting one another to spend time alone with the handsome young soldier. This culminates at a dinner where all of the women are all gussied up, each hoping he will choose her. But something unexpected happens that turns the smiling charmer into a violent ogre. What will the women do with him now?

The Beguiled is a dark comedy, a remake of Don Seigel’s movie from the 1970s, told from the women’s point of view. It includes lots of twists and turns for a simple ninety minute movie. I thought the acting was good, and the looks of the movie itself is fantastic. I’d describe it as over-the-top subtlety, with oak trees groaning with Spanish moss and a constant mist covering everything. I liked this one.

In the Name of All Canadians

It’s Canada’s Sesquicentennial, 150 years since confederation, so Hot Docs commissioned a multipart documentary made any a number of filmmakers. I dreaded watching this because I was afraid this would be yet another treackly look at toques, poutine, multiculturalism, our health system and Tim Hortons. But I was way off the mark. It’s actually a reality check, a hard look at the all the egregious errors Canada’s governments have made over the past 70 years or so. Did you know Frenco-Manitoban school teachers were forbidden from teaching in French for 50 years? Then there’s the case of Mr Abdelrazik, a Sudanese- Canadian man tortured then forced to camp out inside the Canadian Embassy in Khartoum for three years before he was allowed to come home. There’s the mass arrests at the G20, the internment of Japanese Canadians, discrimination faced by black and Muslim Canadians. And the biggest issue of all, Truth and Reconciliation with aboriginal Canadians — First Nations, Inuit and Metis — for the countless crimes, including Residential Schools, inflicted on them.

In form, most of these docs use actors reading scripts, animated sequences, talking heads and reenactments, rather than fly-on-the-wall records of actual events. Some parts are very moving, while other parts veer into speechifying. The serious parts are tied together by cute short sequences asking various Canadians what they prefer in a huge range of topics. While not perfect, altogether it gives a good hard look at Canada’s Charter of Rights and Freedoms, its successes and failures. Worth seeing.

In the Name of all Canadians is playing now at the Hot Docs cinema; and The Big Sick and The Beguiled both open today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

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