When the Cheshire emerges...

Savages (MA15+)

THE CALIFORNIAN marijuana trade is arguably one of the strongest in the world, where both the rich and famous and those unemployed seek a similar comfort. The push to legalise it past medicinal purposes continues although already their laws make them one of the most liberal US states.
Oliver Stone's penchant for addressing political issues hits a more casual nerve with his adaptation of Don Winslow's titular novel, a reflection of relationships between Californian cultivators and competition from south of the border.

Soldier Chon (Battleship's Taylor Kitsch) and Ben (Aaron Johnson) are best friends. They expand their business, and share O(phelia) (Blake Lively) between them. As Ben considers leaving the game after a good run, they are given an offer to join a partnership with a Mexican cartel led by Elena Sanchez (Salma Hayek).

These sorts of stories never bode well for the characters involved, with no exception here. Opening with reflective (but ultimately inconsistent) narration from O, the trio are revealed to essentially be good people. But when things go pear-shaped after the boys decline the Mexicans' offer, it throws their lives into disarray as both sides face off in a war of savages.

The title is reiterated repeatedly with their words, Winslow and Stone working with Shane Salerno on a screenplay that tries to reinforce neither side is in the clear no matter what their intentions. Chon and Ben's confidant Dennis (John Travolta), part of the law enforcement, is another example of the suggestion that everyone is corrupt.

There are some parts of this venture to be liked - Stone's use of music is diverse, changing the mood dramatically, and some of the imagery is beautiful. Their world is surreal, dream-like - before it comes crashing back to the pitfalls of a warped reality.

It's also somewhat of a homage to Shakespeare, borrowing the name of Ophelia and running with what you could call a 21st Century version of those star-cross'd lovers from Romeo and Juliet. The trio's romance very much remains central as they struggle to trust and believe that things will fall in their favour.

For Stone though, it doesn't. A clear-cut statement from him as fans of his work are used to never finds itself, and instead there is simply an unconventional love story that glorifies drug cultivation. The beautiful imagery lends itself to nothing as the boys are persuaded by Elena's gang, and shifts between that and scenes not unilke those from B-grade horrors.

That's nothing against the cast. Johnson and Kitsch work well together, while Benicio del Toro's villain Lado is unnerving. Stone uses Lively as a pretty face for much of it, particularly in opening and closing scenes. Her narration is hardly necessary and its inconsistency is irritating.

In trying to say a lot, it's a shame that not much is said at all. A lack of depth into explaining the drug trade as it currently stands is undoubtedly a hindrance, and questionable considering its overdrawn running time.

Rating: 4.5/5


***

The Night of the Hunter (1955)

CHARLES Laughton was best known for his role in front of the screen, starring alongside the likes of Clark Gable and Kirk Douglas. His foray into directing began with The Man on the Eiffel Tower, which he was uncredited for, and then six years later completed The Night of the Hunter.
It would be his last, but a film deservedly remembered.

Robert Mitchum is creepy preacher Harry Powell, who crosses the path of rich widow Willa Harper (Shelley Winters) and her children John (Billy Chapin) and Pearl (Sally Jane Bruce). Harry marries Willa as a sham to find her husband’s money, which he stole in a bank robbery.

Struggling to control his emotions, the film takes a turn when the children find themselves on the run from Harry. But Laughton initiates suspense from the first few minutes, increasing intrigue around Harry’s intentions amid dark shadows and a recurring tune.

Black and white film emphasises the doom and gloom for John and Pearl as they eventually see through Harry. Heightened performances from Mitchum and Winters lift the film, based on David Grubb’s debut novel, to strengthen the already excellent direction. A noir thriller among the best of them.

*Published in the Mailbox Shopper (Dubbo) from Wednesday 17/10/2012

MISSED LAST WEEK'S REVIEWS? See what I thought of Lawless and The Third Man.