Erin
Brockovich (2000)
This is almost the most perfect American movie one
can imagine. First, it's got a sexy star. Julia Roberts
oozes charm in a way we haven't seen her exude the stuff
since "Pretty Woman." We fall in love with her character
almost immediately. We care about what happens to her.
There will be those haggard critics who will whine about
how she doesn't really play a character, how it's always
Julia Roberts up there. Bullshit. She brings forth a
warm, compassionate, honest, real and full-bodied character
here. She dives into the plot of "Erin Brockovich" with
the zeal of a Mennonite. Never afraid to show the honesty
and the crustiness of the character, Roberts pours forth
a brilliant personification of the average woman. Part
white trash with a heart-of-gold, Roberts' portrayal
may be the most realistic female lead to grace the screen
in aeons.
The script by Susannah Grant ("Ever After") is a marvel
too. Based on a true story, we get a wonderful and unassuming
plot that could be very difficult to follow if it weren't
for the skill of everyone involved here. Roberts and
director Steven Soderbergh work seemingly effortlessly
to make us understand what is going on here. Sure, they
often reduce it to simply laymen's language, but that's
the skill and the beauty of the story. That's what the
real Erin Brockovich did as well. She took something
complex and made it simple. It's wonderful stuff. Soderbergh,
in a interesting twist, seems to owe as much to Tarantino's
"Jackie Brown," as he does his own body of work with
this film. But he includes so many marvelous moments
and devices to make the film his own. Look at how the
close up of the written word conveys information and
plot here. It's as revolutionary as "Apollo 13" in transforming
information and technical jargon into easy to understand
exposition and plot.
There is no action in this film, no violence really,
only a smidgeon of sex. And yet the film crackles with
energy. We can't take our eyes off of it. Roberts brings
forth a story basically about a working class single
mom just trying to get through the day. But it's also
the story of a massive class action lawsuit. It's about
pollution and chemicals and science. But this film puts
a human face on this and molds it so we can understand
it and appreciate it. Roberts' moments in the film as
mom, lover, secretary, detective, friend, hoochie mama
and bitch all gel together into a massively wonderful
and harmonious whole. It's not just a strong character,
it's the fucking female "Rocky!"
The direction, dare I say it, is flawless. Soderbergh
proves himself to be one of America's most talented
and assured directors. Look at his work. It's never
flashy, never showy, never artsy for no reason. Yet
Soderbergh puts in so many tiny flourishes that the
film becomes a work with the complexity of an oil painting.
Note the way the initial love scene between Roberts
and Aaron Eckhart is filmed recalling Soderbergh's "The
Limey," with quick cut editing and non- linear ambiance.
This works perfectly just in this one scene here. And
when Soderbergh is called on to do an establishing shot,
he doesn't just show a car on a freeway. He takes the
opportunity to make something more of it. He shows a
car moving slowly on the freeway. So we get character
development in an establishing shot. This is one of
the finest most perfectly directed films to grace the
silver screen in a long time.
The cast is brilliant. Albert Finney is a revelation
as Ed. Wow! This is a guy we all know, that big fish
in a small pond that knows his place. His work is wonderful.
And the chemistry between he and Roberts zings through
the air like bottle rockets. Similarly, small roles,
like those played by Conchita Farrel and Veanne Cox,
add the perfect touches of nuance and character development
for the main characters. Sure, everything revolves around
Roberts in this film, but it's supposed to. The supporting
cast understands that and works to make her bubble in
the role. It's great stuff. They shine just as brightly
as she does without ever diminishing the luster of the
entire film.
In fact, every single little thing works in this film.
This is the kind of film that should win for Best Costume
but probably won't even get nominated. When was the
last time you saw a film set in modern times where the
attire of the characters were so integral to understanding
them as people? When was the last time you understood
so much about a character in a film by seeing their
office, or their kitchen, or their neighborhood, or
the way they drove a car? "Erin Brockovich" uses all
of these elements to tell it's story. Every frame of
this film is used wisely, with great care.
Sure it's only March. And there's a long way to go
before Oscar time 2001 roles around. But if this film
isn't up there, high on the list, it's a shame. Either
that or it will be a banner year for films. It just
doesn't get any better than this. Roberts, Soderbergh,
Finney and Grant all deserve parades and accolades.
Much like the real Erin Brockovich does.
Note:
Also with Marg Helgenberger, Cherry Jones, Peter Coyote,
Tracey Walter, and Mimi Kennedy.
The real Erin Brockovich plays Julia, the waitress
in an uncredited role.
Danny Devito is one of the producers of the film.
More
of Lodger's reviews indexed alphabetically! Just click
your favorite letter to go there.
a
b c
d e
f g
h i
j k
l m
n o
p q
r s
t u
v w
x y
z
HOME
|
In
Association with:
|
Posters From!
|
|
Please Visit 
|
|
