102: Martha Marcy May Marlene

Sometimes a movie can hit you in the face even though nothing much happens. One such movie is Martha Marcy May Marlene, Sean Durkin’s feature directorial debut. There is something very powerful and off-putting about it, something intangible, something very scary. It stays with you, while you really don’t want it to. It isn’t a pleasant experience, but totally engrossing at the same time. A beautiful and repulsive movie. A rare occurrence.

Elizabeth Olsen stars as Martha, or Marcy, or May Marlene. Martha is her real name, Marcy is the name she is given by the leader of the cult she joins and May Marlene is the name the women in the cult use when answering the phone. The leader of the cult is Patrick, played by John Hawkes, a very enigmatic and charismatic man who manages to win the hearts of the men and women around him. He is quiet and speaks with alarming certainty about what’s good for the community and what somebody has to sacrifice to stay there. He never forces anybody to stay, but they don’t dare leave either.

Durkin doesn’t concern himself with telling a complete story and this is what a lot of people are complaining about. Durkin doesn’t want to present the answers to the questions the movie poses. He doesn’t pretend to know what goes on inside Martha’s head. She has closed herself off to the world, so why should we or the director get unlimited access to her head? It appears that something transpired in the cult to make Martha leave and go to her sister’s house, who has created a fine life for herself. Out of love for her sister she opens her house to Martha, but Martha doesn’t know how to cope with life outside the cult where different rules defined life. This leads to conflicts that put everything at stake in the lives of both sisters.

It is truly heartbreaking to see a young woman like Martha be so broken. It shows how incredibly damaging an environment as created by Hawkes’ Patrick can be to a malleable mind. Martha came to him at an age where she was still seeking for a way in life. He takes advantage of this to shape her into a woman he can control. We see this process happening as gradually as it would in real life and it is only later when the same thing happens to another girl that we start to understand the gravity of the situation. What Patrick is doing is incredibly insidious and he should be punished for this. Even a small thing like changing somebody’s name like it is an afterthought can mess with somebody’s head tremendously.

All this is told in way that can be very disorienting to a viewer. Without any notice from the director we change between present day, when Martha is living with her sister, and the past when we see Martha living in the cult. Just like Martha we are never certain where we are at any given time, which puts us right where Durkin wants us. Martha is disoriented as well and keeps dwelling on the time she spent in the cult. There could even be longing to that seemingly more beautiful time there, in a place where the rules are clear and everything is provided. Martha’s choice to leave must have been sparked by something very intense, though we will never know this, because Martha won’t tell us.

Martha, Marcy, May Marlene is a stunning directorial debut with a lead role by Elizabeth Olsen that will stay with you a long time.

> IMDb


097: American Gangster

This is the seventeenth movie in my Ridley Scott retrospective.

I think I have it figured out by now. I tend to watch long movies, many of them by Ridley Scott, in stints. I’ll watch thirty minutes or an hour and then I to take a break or watch something else. This is not because the movies aren’t interesting. No, absolutely not. It is because they have the tendency to be so dense and detailed that they more resemble a book than a movie. I don’t read a book in one sitting, so why should I have to do that with a movie? This may be sacrilegious to some, but that doesn’t really concern me.

American Gangster is a movie that fits the above described category perfectly. It is an incredibly dense crime drama about self-made man Frank Lucas and Richie Roberts, the man who desperately wants to put him behind bars. It is the ’70s and Lucas inherits the keys to his mentor’s criminal empire. Instead of just taking over he decides to do things differently. He handles his business for what it is: business. That means providing a better product for a better price. He even travels to the deep jungles of Thailand to secure his drug deliveries in person, an action that earns him a lot of respect. Back home he takes care of business and he takes care of his family. He employs a lot of his family and moves his mother into a huge mansion. There is something charming about Frank that makes him irresistible and that something also covers up a ruthless side to him. A comparison can be made between Lucas and Nicolas Cage’s Roy in Matchstick Men, both are charismatic criminals with a decent heart. Scott likes his bad guys with a few additional layers.

On the other side we find Richie Roberts, a pit bull detective who is resourceful and brutally honest. When he finds an enormous amount of untraceable money he decides to turn it in instead of splitting it among his fellow detectives. This doesn’t sit well with the others. Does Richie care about this? No, not in the least. He wants results, but doesn’t want them at the cost of his soul. He stumbles onto a case around mysteriously pure heroin that is flooding the streets of Harlem. Everybody is dumbfounded by the manner in which Frank Lucas conducts his business and it takes a lot of time for them to even consider Frank as the culprit. Essentially American Gangster is a perfectly executed game of cat and mouse.

Scott isn’t interested in passing judgement on his characters. He leaves that up to the viewers of his movies, to make up their mind whether or not Lucas is a total bad guy or not. He shows Lucas as a ruthless killer who doesn’t hesitate to execute someone in broad daylight at a crowded market, but he also takes care of his family and friends and, ruthless as he is, he is always courteous to his victims. When he sets someone on fire he fires a bullet into the head to put his victim out of his misery. How is that for being merciful. Washington is excellent as the ever charming and quiet Lucas. He internalizes a lot of the emotions to make them explode onto the screen with incredible force. It is one of his finest performances.

As brilliant as Scott portrays Lucas, he has a little more trouble with Crowe’s character. The character itself is fine. He is an upstanding guy who will do everything to get the job done. The way in which Scott and Steven Zaillian approach this is by making him the unwilling half in a divorce from his wife (Carla Gugino). It is the standard plot about the husband who has more pressing things to do at his job than at home, but unlike Lorraine Bracco in Someone to Watch Over Me, Gugino isn’t strong to make us think that this would be a problem for Crowe, leaving him without the drama to offset his tenacity at his job. This hurts the otherwise intense drama a little bit.

One of the most annoying things about Scott (at least to other film makers) directing his movie is that he makes it look so incredibly effortless. American Gangster is a movie that takes place over the course of several years and in several countries. He switches back and forth between the two major storylines as if it is the easiest thing to do as a director. As always, the movie looks impeccable. Scott may truly be one of the best directors we have alive today. His movies may not always be the best storywise, and often a bit overlong, but nothing can be said negatively about the way his movies look. From The Duellists to American Gangster (and now Prometheus), nobody comes close to his mastery of the medium.

American Gangster is an excellent movie that deserves to be devoured again and again. It displays great acting, great cinematography and great storytelling. Certainly one of Scott’s best works.

> IMDb