THE PLACE BEYOND THE PINES...
If you're looking for a great crime film chuck full of well rounded characters with a gripping plot and a structure you're not going to find anywhere else, then The Place Beyond the Pines is the film for you.
The second feature from director/co-writer Derek Cianfrance, Pines charts a course whose mood is similar to Narc, Killing Me Softly, and Drive -- though it may in fact be superior to all three. It is, of course, an awful thing to claim that certain films are "better" than others, as they are all different. It is even a bit more awful when one claims a film is "better" than predecessors who helped forge the way for the current film's existence. That being said, I'm going to leave the word "superior" dangling out there nevertheless. The Film Nook is, after all, ultimately an awards website. Thus, things will eventually end in a realm of comparison and ranking where nominees and then winners are named. So there we have it.
Cianfrance earned a great deal of acclaim and attention for his first feature Blue Valentine -- also starring Ryan Gosling and earning the lovely Michelle Williams her second Oscar nomination (Brokeback - also from FOCUS - being her first). Those who saw Valentine and enjoyed it (as much as one can use the word "enjoy" with Blue Valentine) might still be a bit trepidatious about entering those waters again. Valentine was raw, real, and brutal. It wasn't exactly something that warmed the heart -- though the title was absolutely fair warning (don't expect to be laughing my ass off when watching Gloomy Sunday, either). With Place Beyond the Pines, Gianfrance has woven together and intriguing multi-generational crime drama that cushions the audience from its palpable plot blows by keeping audience minds anchored in the intrigue of what will happen. It's amazing how a suitcase of money and a bit of corruption make emotionally trying plots, horrible fates, and unjust outcomes stomach-able; Gianfrance's skilled direction does just that.
Of course, Derek followed the Mike Nichols rule of direction and cast his film perfectly. It could be that in Ryan Gosling, he has found the perfect leading man: a sexy, soft-spoken, anti-hero, whose fatal flaw is a deep loyalty undercut by the tumultuous battle between his heart and short temper. There's not many men who convincingly stunt ride motor cycles, squeal with delight when feeding an infant ice cream, rob banks at gunpoint, and dance with dogs. Each one of these moments seems like just another natural day for Gosling -- and is most certainly a testament to the trusting relationship between director and star. Without Gosling as the kick-off character, Pines wouldn't be properly anchored. He ties this picture down perfectly -- allowing those that follow to flourish as the echoes of his masterfully genuine performance ring through the rest of the film.
Gosling's perp is well-assisted by Ben Mendelsohn, perhaps best known as "Taggert" the crooked board member who drove Bruce Wayne from his family company -- and later had his head cracked or his eyes gouged out -- some horrible off-screen fate -- at the hands of Bane. In Pines Mendelsohn's Robin proves the half-wit two-bit thief who prompts Gosling's life of crime. Their partnership is a perfect "be careful what you wish for" relationship where Gosling's success and (dare I say) drive put Robin at further risk. Mendelsohn comes face to face with Gosling's DeNiro-esque (I prefer Gosling -- deal with it) complex criminality and lives to tell the tale. Perhaps his most defining characteristic is that the tale he tells is a kind one.
Hot on Gosling's tale is Avery, played by Bradley Cooper -- who does quite the turn. I will admit -- and those of you that followed the Oscar wave of this blog know -- that I wasn't too keen on the Silver Linings Playbook. I must watch it again and I must give it a fair shake the second time around. Having said that, Pines proves yet another film where the Hangover star is proving that he is also a serious actor. Cooper's copper performance spans fifteen years of the film's narrative -- requiring that Avery be played in two generations. Though only briefly in the latter hunk, Cooper is quite convincing as both young cop and rising politico.
Not to be overlooked is Eva Mendes, who hasn't had a performance this significant since her briefly Oscar buzzing turn in We Own the Night. Mendes weathers the storm of both Cooper and Gosling, let alone Ray Liotta, her husband, and her son -- if I went more in depth than that, I'd spoil the whole damn plot and in the words of Samwise Gamgee, "I don't mean to."
In fact every performance in the film -- particularly those of youngsters Dane DeHaan (Lawless) and Emory Cohen (Smash) -- is measured, managed, and -- simply put -- genuine. I've used that word earlier in this bit o' blog write-up, and the truth of the matter is that there's no better description of this film, its plot, its cast, and their performances than "genuine." It's as if the audience drops into Gosling's carnival trailer like a stone into a placid pond and then Gianfrance takes us on a ride through the ripples -- passing us through characters, generations, mistakes, and aftermaths.
Chalk up Independent Spirit nominations up and down the joint for this excellent little film -- which has already racked up a respectable 18 Million in domestic box office. Though it could be forgotten come Oscar time, I'd say put this one on the back burner and let's watch how the rest of the year pans out. If you slid Gosling and Cooper into the "supporting actor" category -- as all parts in this ensembler should be -- they could well pop up. The truth is supporting's the most brutal category out there -- usually packed with five deserving winners. But a Gosling win at this young an age -- and the truth is based on their bodies of work and even film to film, Gosling deserves it over Cooper any day -- would be something out of the Adrien Brody Playbook. Despite the Gos' four Golden Globe and three Indie Spirit noms, he has only one Oscar nom for Half Nelson. Walking the Sean Penn, DeNiro route that he is, Ryan stands a better chance snagging a supporting statue as Bobby D did for Godfather Part II; leading man may be something Gosling -- like Penn before him -- won't see until he crosses 40.
The Place Beyond the Pines -- easily this year's best film so far.
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