The Big 2-9

Aside from the fact that this day sealed my fate as the “Never Gets a ‘Happy Birthday’ from the Teacher or Your Classmates Because School’s Out for Summer Kid,” June 28 never seemed like a terribly interesting day to be born.

Until I realized that’s also the day sublimely talented actors Kathy Bates, John Cusack, the late Gilda Radner and the late Pat “Wax On, Wax Off” Morita headed toward the light of the birth canal. June 28 also gave King Henry VIII to England (bet that’s one pregnant lady the Great Holy Aardvark wishes he could have uninseminated). And June 28 happens to be the only day every year where the month and the day are different perfect numbers*.

But really, the only reason I ever get all jacked up is because the 28th of June is when the World’s Greatest Director — the reason I love movies and the reason I have such a warped, wacko sense of humor — Mel “Lepetomane” Brooks classed up Planet Earth’s population.

This year, though, looks be far more exciting because Andy at Fandango Groovers hatched a brilliant idea: Write a post listing favorite films for every year I’ve been breathing. Later in 2010 Andy’s planning a blog event on this theme, so start thinking about your choices, readers. Without further adieu, here are my favorites from 1981-2010:

Ash will saw off your nose.

1981: “The Evil Dead” — Maybe directors did horror-comedy before Sam Raimi’s cult classic, but those movies did not feature the unstoppable Bruce Campbell as erstwhile hero Ash, who would later go on to coin the phrases “boomstick” and “hail to the king, baby.”

1982: “First Blood” — The first in the Rambo franchise, Sly Stallone’s “First Blood” combines jaw-dropping action, buckets of bloodshed and a surprisingly poignant message about the treatment of Vietnam vets in America.

1983: “The Big Chill” — College pals Glenn Close, Tom Berenger, William Hurt, Kevin Kline and Jeff Goldblum reunite to mourn a friend’s suicide. This much acting talent on one set is a recipe for goodness.

1984: “Blood Simple” (full review) — The fact that this is Joel and Ethan Coen’s first film is almost as astounding as the film itself. Almost.

1985: “The Breakfast Club” — The late John Hughes showed us, in this poignant ode to real teen issues, that lurking inside everyone there’s a princess, a jock, a brain, a basket case and a criminal in search of connection. And a little doobage.

1986: “Aliens” (full review) — Twenty-four years later and Ellen Ripley (Sigourney Weaver) remains a female action hero with smarts, guts and muscles. What a novel idea.

1987: “The Untouchables” — Most gangster movies offer plenty of bloody shoot-em-ups, slick double-crosses, dark double-breasted suits and bank accounts stuffed like you wouldn’t believe. Brian De Palma’s “Untouchables” also has something else: a conscience.

Velcome to vaxwork...

1988: “Waxwork” (full review) — There are crappy films, and then there are films that revel and delight in their own crappiness. Guess which kind “Waxwork” is.

1989: “Heathers” (full review) — No matter how cruel the queen bees in your school were, they don’t hold a candle to Idi Amin wannabe Heather Chandler.

1990: “GoodFellas” (full review) — Powered by the performances of Joe Pesci, Paul Sorvino, Lorraine Bracco, Robert De Niro and Ray Liotta, “GoodFellas” set the bar for gangster movies impossibly high.

1991: “Terminator 2: Judgment Day” — The follow-up to Cameron’s impressive “Terminator,” the sequel blasted the volume up to 11, boasted some thrilling chase scenes (the semi rundown is iconic) and reached the level of Whoa, I’ve Never Seen That Before! with its ice-cool villain T-1000 (Robert Patrick). 

1992: “Reservoir Dogs” (full review) — Quentin Tarantino gives the Cuisinart treatment to the traditional caper-gone-wrong and ends up making one of the most inventive films of the ’90s.

1993: “Schindler’s List” — Steven Spielberg’s sweeping, horrifying and heartbreaking retelling of the story of Oskar Schindler (Liam Neeson) mission to rescue Jews during the Holocaust is emotionally punishing, but it’s a film that must be seen. It can change your life if you let it.

1994: “Pulp Fiction” (full review) — It’s got John Travolta and Samuel L. Jackson as hitmen, a booty-shaking soundtrack and scene about Christopher Walken wearing a watch up his ass two years. That’s all you need to know. 

Will the real Keyser Soze please stand up?

1995: “The Usual Suspects” (full review) — Not only does Bryan Singer’s noirish, twisty thriller feature a killer-good ensemble cast (Kevin Spacey AND Gabriel Byrne AND Benicio del Toro AND Chazz Palminteri), “The Usual Suspects” also has the best twist ending. Ever written.

1996: “Fargo” (full review) — Dear Coen brothers: Thank you for showing me that it’s never impossible to take an old formula (best-laid plans gone to hell) and put a devious, violent spin on them. Sincerely, M. Carter @ the Movies

1997: “Chasing Amy” — Too few directors of romantic comedies have no interest in showing relationships as they actually are. Kevin Smith is not one of these directors. His “Chasing Amy” is raw, frank to the point of crudeness and deeply heartfelt, and it examines the problems all lovers — gay and straight — face.

1998: “The Opposite of Sex” — “The Opposite of Sex” is the best black comedy you’ve never seen. Don Roos puts the screws to the traditional narrated film formula with Dee Dee (Christina Ricci), a heroine who may be plucky but isn’t the least bit lovable. She’ll ransom your dead gay lover’s ashes and not think twice about it. 

Move Milton's (Stephen Root) desk to Storage Room B and see where that gets you.

1999: “Office Space” (full review) — Mike Judge takes a maze of cubicles and turns it into a feature-length film that’s the personification of Dante’s limbo, then sets it to a fantastic rap soundtrack. It’s good to be a gangsta.

2000: “Quills” (full review) — No other actors slips so effortlessly into the part of the villain as Geoffrey Rush can, and that mirthful, slightly evil glint in his eyes makes him the perfect (and only acceptable) choice to play the infamous Marquis de Sade.

2001: “The Believer” — Based on the true story of Dan Burros, a Jew who became a Neo-Nazi, Henry Bean’s “The Believer” looks unflinchingly at all aspects of faith and features what may be Ryan Gosling’s most gripping performance. Ever. 

2002: “City of God” — Fernando Meirelles’ crime drama plays out like an elegaic marriage of the best parts of Martin Scorsese’s “GoodFellas”  and Charles Dickens’ “Great Expectations,” capturing the bloody, grim realities of a life lived in Brazil’s rough Cidade de Deus (City of God) favela.

2003: “Mystic River” — Author Dennis Lehane understands, deep down in his soul, the rhythms of Boston’s shady, bleak underworld. Director Clint Eastwood understands the people who have fallen through the cracks. Together, “Mystic River,” about three childhood friends dealing with a murder, they make an unbeatable team.

Javier Bardem's performance is anything but bleak.

2004: “Mar adentro” (full review) — Is it possible to make a film about a quadriplegic (Javier Bardem) who wants nothing more than to die and have that film turn out to be an affirmation of life? Look to “Mar adentro” for the answer.

2005: “The Constant Gardener” — Taut political/medical conspiracy thrillers ordinarily don’t offer emotions as complex as the plotlines. But director Fernando Meirelles etches characters (Rachel Weisz, Ralph Fiennes) who matter to each other, and so they matter to us.

2006: “The Lives of Others” (full review) — Movies about Big Brother rarely take the time to humanize the enemy, but director Henckel von Donnersmarck finds humanity even in the most ardent supporter (Ulrich Mühe) of suppressing free will.

2007: “No Country for Old Men” (full review) — Call it the Coens’ Law: Every time you think they’ve made their best movie ever, they top themselves. How they’ll top this gritty, violent and blackly funny caper is something this reviewer has gotta see.

2008: “The Dark Knight” — With “Batman Begins,” Christopher Nolan single-handedly revived a years-ailing franchise; in the inspired sequel — part Greek tragedy, part action flick, part sweeping character drama — he let Heath Ledger reinvent the iconic Joker in the spirit of creation.

Get in my bell-ay, Jew Hunter!

2009: “Inglourious Basterds” (full review) — In terms of sheer imagination and cojones, almost no director working today can match Quentin Tarantino, who in this misspelled epic rewrites the ending to WWII and gives cinema one of its greatest villains (Christoph Waltz).

2010: So far? “Shutter Island.” The predicted winner? “True Grit.”

*It’s my birthday and I’m giving you a math lesson. Can you say “nerd”?

No. 35: “Mar adentro” (2004)

“A life without freedom is not a life.”
~~Ramón Sampedro

There is an impulse, very human and universal, to tend to wounds as we discover them: to salve the burns, clean and stitch the gashes, soothe the scrapes. This impulse extends to our reaction to people who want nothing more than to die; we must coax them away from the edge and convince them of them of life’s welcoming beauty. “There is so much to live for,” we insist, feeling a sense of urgency frightening because it makes us wonder if there’s conviction or just convention behind it.

This is the rocky terrain that director/screenwriter Alejandro Amenábar carefully but adeptly navigates in “Mar adentro,”* winner of the 2004 Oscar for Best Foreign Film. His haunting, difficult film centers on the true story of Galicia-born Ramón Sampedro (Javier Bardem, displaying astonishing warmth and humor), a quadriplegic who spent nearly three decades arguing for his right to assisted suicide. Paralyzed by a botched cliff dive at age 25, Ramón did not accept his condition as people wanted. Instead, he spent his remaining years of his life sure of just one thing: he wanted to end it. Ramón’s yearning for death flew in the face of everyone’s unspoken expectations — that he accept his reality bravely, that he press on because that’s what people do. He did not react accordingly; Ramón challenged people to consider, really consider, the cruelty of forcing him to keep living when all he wanted was to die.

Without the right director and lead actor, a man like Ramón Sampedro might not translate to the screen, or seem too much like a martyr than an actual human being. Amenábar, in his beautifully lensed and poignantly written film, sidesteps these dangers by honing in on Ramón’s very personal story and his relationships with his family and friends. And that’s where Bardem’s talent comes in: The actor creates a perceptive, funny, deeply felt character using only his eyes and his facial expressions and his voice. Though it’s the extraordinary, Oscar-nominated make-up artistry that ages him, it’s Bardem who makes Ramón so much more than a tragic figure. He plays Ramón years after the accident that rendered his limbs useless, now living in Galicia with his brother José (Celso Bugallo), José’s wife Manuela (Mabel Rivera), who serves as Ramón’s caregiver, and their father Joaquín (Joan Dalmau). Ramón believes himself a burden to Manuela and his family, though he tries to conceal that with humor. Sometimes he lets the truth slip out. “When you can’t escape, and you constantly rely on everyone else, you learn to cry by smiling, you know?” he explains. He also upbraids a priest (Josep Maria Pou) armed with a Bible and a cache of trite platitudes.

In lobbying for his right to euthanasia, Ramón locates a pro-freedom of choice organization to back his case and meets with a supportive lawyer, Julia (Belén Rueda, controlled but powerful), who is facing her own uncertain future of disability and dependency on caregivers. Ramón also touches the life of Rosa (the more emotive Lola Dueñas), a damaged woman who sees a kindness in Ramón she wants to save. Ramón’s relationship with these women is the soul of “Mar adentro,” and while there are elements of romance Amenábar keeps the film from straying into a melodrama overstuffed with grand proclamations about the redemptive powers of love and the value of life. He doesn’t force this angle; rather, Amenábar structures “Mar adentro” as a heartrending tale of Ramón’s struggle and the ways he changes Julia and Rosa’s lives. Each comes to love him, and each comes to understand that she cannot will him to live. All he asks is that both women accept him as he is; only one has the strength to do so.

Bardem intuits this about Ramón, his longing for a love great enough to set him free, and communicates churning oceans of meaning with his eyes and his expressions. This a performance of depth and feeling that defies explanation; it is magnetic and challenging and commanding. If we cannot agree with Ramón’s choice, Bardem ensures we see and understand his reasons. He makes us feel the despair of a life lived on everyone else’s terms.

*”Out to sea,” not “The Sea Inside,” the misleading English title