Laurel Canyon (2003)
Imagine Frances McDormand in a sequel
to "Almost Famous" where the roles that she and Patrick
Fugit's played were reversed. Sort of "Almost Famous"
meets "Freaky Friday," but not quite. That's "Laurel
Canyon."
Written and directed by Lisa Cholodenko,
who made the highly acclaimed indie "High Art" a few
years back, "Laurel Canyon" is a wonderful twist on
the "fish out of water/culture shock" film that we've
seen for over 30 years. Here, instead of providing
liberal kids who shock their conservative parents,
Cholodenko provides a free-spirited mother who embarrasses
and disappoints her focused, mainstream, conservative,
college-aged son.
McDormand is simply perfection in
her role as the high- maintenance, progressive, Earth
mother with a mission. More than just a liberated
free spirit, McDormand's Jane is a record producer
of high esteem who has worked in the music industry
for years. Established and industrious, Jane is also
creative, demanding, myopic and caught up in her own
life.
McDormand is the perfect actress
to bring this diverse dichotomy of character to the
screen. Watching the film it is hard to imagine anyone
else in the role. And she looks simply scrumptious.
When she has an affair with a singer half her age,
no one questions his love and lust for her.
Christian Bale plays her son, Sam,
with just enough of the required cool cautiousness.
While not my favorite actor, and a bit too old for
the role, Bale does a perfect job here. His chemistry
with McDormand is right on target. Likewise is Kate
Beckinsale who handles a role of immense arc with
delicate impeccability. The acting here is simply
wonderful and that is important because this is an
actor's film. This film is about character.
Script, story and character are
everything here and Cholodenko is wonderfully exact
in allowing her actors to shape the film and bring
it to life. She doesn't try too many cool shots or
edgy editing techniques and simply allows the film
to flow from the story. Her work is perfectly paced,
breezy and just intense enough to be real. This film
could easily be ridiculous or stilted in the wrong
hands but Cholodenko, working from her own script,
wisely allows the actors to do their job and never
mucks about with cinematic tricks that might hurt
the film.
Where this story goes is amazing.
This film takes incredible chances with character,
their sexuality and societal mores and it often leads
to amazingly intense and surprising areas. But, this
being said, one must note that the film seems to cop-out
in its final resolution. Or at least that's what I
thought upon my initial viewing. Once I had a chance
to reflect on the theme of the film and what it was
trying to say about mother/child relationships, I
found it much more likeable and easily agreeable.
This is a really good film and one
that should lead to McDormand getting another Oscar
nod. If you like her as an actress, you'll love this
film.
Note:
Also with Natasha McElhone and Alessandro
Nivola.
Nivola plays guitar and sings here.
The Folk Implosion (Lou Barlow, Imaad Wasif and Russ
Pollard) play his unnamed band. The songs Nivola sings
are written by Mark Linkous of Sparklehorse who has
a cameo in the film. Famed record producer and musician
Daniel Lanois also has a cameo. David Bowie and Iggy
Pop are among the many rock stars that are seen in
"faked" photographs with McDormand and they are thanked
in the end credits.
The score is by Craig Wedren of
Shudder to Think.
The film premiered in the U.S. at
Sundance.
Viewed on a screener VHS tape provided
by the distributor.
