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Putting Myself in a Bind(er)
 From Chicago/Milwaukee, this is The Dope Sheet... I'm Sam Van Hallgren
I confess. I thought Mike Binder was a second-time
writer/director. That would help explain why, during our review of
"Reign Over Me"
on
FS #153,
I condescendingly compared Binder to friends of mine who stage their
own plays in Chicago storefront theatres.
Before reviewing a film, I always check IMDb to find out what
else the writer, director and actors have worked on. Why didn't I
this time? Simple. Because I thought I knew. I knew Binder as a
long-time character actor on TV and in movies; I knew that he created
HBO's "The Mind of The Married Man"; and I knew that he wrote and
directed 2005's "The Upside of Anger." What else was there to know?
Oh, maybe the seven other feature films that Binder wrote and/or
directed, including last year's straight-to-DVD "Man About Town" with
Ben Affleck and three others that I've never heard of.
I apologize to Mike Binder, and to Filmspotting listeners for not
doing my homework. The question is whether I would have reviewed
"Reign Over Me" differently if I had known all of that.
If I had been blown away by "Reign Over Me," I'm willing to bet
that I would have checked Binder's filmography to confirm if "Anger"
was his first film. And I would likely have checked to see if he had
anything new lined up. But instead, "Reign" fit perfectly with my
[mis]conception that it was Binder's sophomore effort: it had many of
the same problems as "Anger," but with more effectively written
scenes and good, nuanced performances from Sandler and Cheadle.
But what was it exactly that had me pegging "Reign Over Me" as
the script of a first- or second-time writer, as opposed to just a
"bad" writer?
Having read several plays, short stories, novels and screenplays
written by first-time-writer friends of mine -- and having attempted
a couple myself -- I thought I recognized in Binder's "Reign Over Me"
screenplay the hallmarks of a novice writer. According to my logic,
if it reminded me of something I had written myself, I knew it
couldn't be very good.
For example, both "Upside" and "Reign" feature a tragic premise
[Joan Allen's missing husband in "Anger;" Sandler's deceased family
in "Reign"]. And because I've done this very same thing myself, I
quickly recognize that by defining his central characters as victims
of a tragedy, Binder gives himself the license to have those
characters stop behaving like normal people and start behaving at
emotional extremes [Allen's alcoholism and depression in "Anger" and
Sandler's depression/repression/rage in "Reign"].
Characters at emotional extremes are not only more fun to write,
they can also be easier to write. And once you've got a character
acting like an emotional tornado, then all the rest of the characters
have to do is sit on the sidelines and comment on the action. Which
is more or less what happens in "Reign Over Me."
But I think what makes me admire Binder is that even if his
approach to material can be awkward, he is more interested in getting
at the truth of his characters than achieving some manipulative movie
moment.
And for that, Mike Binder, veteran Hollywood filmmaker, I
thank you.
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Overlooked DVD Pick: The Station Agent *****
 Speaking of writing, I imagine that one of the hardest things to
write convincingly is the moment or series of moments when two
strangers get to know each other and become friends.
"The Station Agent",
the debut film from writer/director Thomas McCarthy, is full of
these quiet, funny, and spontaneous moments.
"Agent" is a movie about three loners -- all battling grief and
personal tragedy, and navigating the unknown terrain of new
friendships -- that stops well short of the kind of hysteria that
Mike Binder can occasionally traffic in.
Watching these three grieving characters (played by Peter
Dinklage, Bobby Cannavale and Patricia Clarkson) open themselves up
to friendship (possibly against their better judgment) is one of the
pleasures of the movie.
In many ways a cliché American indie movie -- sad, quirky
characters find a connection -- "Agent" never confuses quirks for
character, and has a sincerity, sense of humor and honesty where
other films of its kind would be content with cleverness or cynicism.
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Dope Links
How Come He Gets An Oscar?
Who the %@^&#! is Graham King? Uh, he just happens to be the guy
who won this year's biggest Oscar -- the Best Picture trophy for "The
Departed." That's because he was the film's producer (Picture
trophies are awarded to producers, for the record). Many viewers,
most likely, had a fleeting thought of "Um...what did he do, anyway?"
Thanks to London Times Online, you can get a good idea from another
(anonymous) Best Picture winner. And as you'll read, the role of a
producer is more often agony than ecstasy.
Noir America
With the recent releases of the two-disc "Double Indemnity" set
and The Film Noir Classic Collection, Slate's Stanley Crouch
waxes poetic about cynics, sluts, heists, and murder most foul.
Critics, What Are They Good For?
Absolutely nuthin'. As it relates to box office, anyway. In
this IFC podcast, Filmspotting friend Matt Singer and co-host Alison
Willmore breakdown the stark contrasts in profits made by 2007's best
and worst reviewed films so far.
DOPE BONUS
Van-ity Fair
Our man Sam's gettin' some pub. We've known for awhile why Mr.
Hallgren added "Van" to his last name. Now, thanks to USA Today,
much of the country knows, too (you can see him highlighted near the
end of the article). The piece happens to quote one listener's macho
ribbing of the name change, although in light of Sam's recent embrace
of "300," the call for Sam's "man card" rings hollow. And in more
Van Hallgren news, Sam's wife Carrie actually gets mentioned
in another article
for what Sam would likely rather be cited for -- her critical opinion
(see the write-up of the third featured DVD).
--Jeff Huston, Editor
[Adam's note: The USA Today piece was also picked up by the
Chicago Sun-Times. On Monday, Sam appeared on WOR radio in New York
to discuss the name change decision. He was Van-Tastic, naturally.]
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