Translation: Feinberg was as confounded and irritated by this film, despite its chilling, fascinating aspects, as I was.
“During its first North American screening at the Telluride Film Festival on Saturday night, I struggled to follow what struck me, and many others, as a convoluted plot. Now, it’s a challenge to get most Academy members to watch a film just once, or to care about sci-fi films even when they’re easily decipherable. So I’m skeptical that this film, which Paramount will release nationwide on Nov. 11, will factor in much of the coming awards season.”
I’m sorry but that’s a correct assessment. Paramount publicists are looking at a major uphill climb to sell Arrival as an awards contender.
Variety‘s Owen Gleiberman has declared that Mel Gibson’s Hacksaw Ridge, which he calls a “brutally effective, bristlingly idiosyncratic combat saga,” has “a good chance of becoming a player during awards season” and “will likely prove to be the first film in a decade that can mark Gibson’s re-entry into the heart of the industry.”
I assume Gleiberman is suggesting Hacksaw could rank as a Best Picture contender, and that perhaps Andrew Garfield might earn laurels as a Best Actor contender. I’ve presumed all along and sight unseen that Hacksaw Ridge wouldn’t even begin to merit award-season consideration because of Gibson’s longstanding pariah status. And if that wasn’t enough, I’ve also been presuming that the film’s Christian-faith narrative wouldn’t go down all that well among industry types, the thinking being that the Republican right has owned Christianity lock, stock and barrel since the early ’80s and, you know, eff that jazz.
Reported yesterday by Deadline’s Pete Hammond, taken from remarks spoken by Tom Hanks during a Sully q & a: “When you see something that is brand new, that you can’t imagine, and you think ‘well thank God this landed’, because I think a movie like La La Land would be anethema to studios. Number one, it is a musical and no one knows the songs.
“This is not a movie that falls into some sort of trend. I think it is going to be a test of the broader national audience, because it has none of the things that major studios want. Pre-Awareness is a big thing they want, which is why a lot of remakes are going on. La La Land is not a sequel, nobody knows who the characters are. But if the audience doesn’t go and embrace something as wonderful as this then we are all doomed.
“We all understand the business aspects of it. It’s cruel and it’s backbreaking and take-no-prisoners. But there’s always that chance where the audience sees something that is brand new, that they never expected, and embraces it and celebrates it. We might be in the luxurious position that we can say we don’t have to pay attention to the trends, but there are other people whose parking spaces with their names on them are paid to follow these trends. I don’t take anything away from them and there are some good movies that come out of that. But we all go to the cinema for the same thing, that is to be transported to someplace we have never been before.”
Like any arresting science-fiction tale, Denis Villenueve‘s Arrival (Paramount, 11.16) challenges you to stretch your cognitive processes. It’s a workout. It also has a great set-up — a visiting (not an invasion) of earth by 12 super-sized alien vehicles, in various locations around the globe. And a linguistic professor, Dr. Louise Banks (Amy Adams), who has raised and lost a daughter to disease, tasked by the government (primarily represented by Forrest Whitaker in military fatigues) to somehow communicate with the alien pilots, called Heptapods, to learn where they’re from and what they want.
Sounds cool, no? An atmospherically haunting thing. Creepy images of massive, split-egg-shaped alien vessels hovering just above the earth. Intriguing, fascinating. A cerebral experience of discovery and synapse-expansion. And of course a hero’s journey for Dr. Banks, who’s just about the only person on the engagement team with an intelligent mindset about the visitors, which is that the only way to go is to communicate, exchange knowledge, share, learn.
Jeremy Renner‘s Ian, an open-minded scientist/mathematician, shares Banks’ attitude. And, down the road, his fluids.
Everyone else in Arrival is a lizard brainer — scared, defensive, concerned about threat, preparing a potential attack. And of course the story will be about Banks saving the world from this absurdly militant attitude.
The Heptapods are apparently looking to assess the nature and character of humans and determine if they deserve to survive with the benefit of their long-game altruism or whether it’s better to…what, ignore or even exterminate and thereby save the universe a lot of grief? Something like that.
So Arrival is more or less the original The Day The Earth Stood Still. The basic message is that aggression is for morons. The Heptapods are Michael Rennie‘s Klaatu. Dr. Banks is a combination of Sam Jaffe‘s Professor Barnhardt (a stand-in for Albert Einstein) and Patricia Neal‘s Helen Benson, both of whom come to agree with the message that Klaatu has come to earth to deliver, which is that aggression and violence are unacceptable and that the earth will be destroyed if the militants don’t cool their jets.
