Fest Track On Sirk TV Film Review: I’M YOUR WOMAN [AFI Fest 2020 – Virtual]

The intention of period piece is to understand the impact on its characters and their reaction to stimuli. In this way, “I’m Your Woman” which stars Rachel Brosnahan of “Marvelous Mrs. Maisel” fame, is an interesting move. It is a film from a first time female director and there is a sense of intention but one where the lead character basks almost in her ignorance until she is confronted not to. Like Karen in “Goodfellas” but much less worldly, Jeane’s life seem stilted but comfortable. Her husband loves her yet she knows that he is a criminal. We are never given a full view of what he is up to but by placing Jean at the center and adding a baby to the mix, it becomes an interesting mix of genres. The only issue is that at times it doesn’t know what it wants to be. Like “the Kitchen”, there are stylistic flourishes at different points in the film that are borderline brilliant but aren’t thoroughly consistent. Brosnahan works herself different in the role on purpose to show the difference in a character from “Maisel”. Jean doesn’t talk fast. She pointedly asks question but rarely and with trepidation. She is not brazen and she is not methodical but her instincts get better. She is not a person used to taking care of herself. She ends up embroiled with another person who worked with her husband who protects her and yet more goes on below the surface. His wife shows up which adds another layer. But it is when Jean needs to peel back the blinders that the film starts to work. One specific scene through a hallway back and forth from a specific POV gives the harrowing feeling and being in the 70s you can guess the texture of the club. That said, even though Amazon is known for having the money to license music, the filmmaker decided to use two very specific Aretha Franklin songs and there is one soul instrumental where one can’t tell if it was written today or then. What it does do is completely set the pace at one point which is where the movie gets part of its flow. Director Julie Hart also has enough confidence to let the camera sit on her actors, especially Brosnahan. Though the performance is not absolutely out of the park, it is effective and nuanced though at times you can see the cracks and the effort being made. The blonde hair and 70s era outfits completely the idea of transformation in Brosnahan. This is not “Fargo” but it does reflect the mid-range pictures that used to be commonplace in Hollywood. And the streamers know that can be its bread and butter. Pittsburgh too takes a great role in the film creating that 70s angle and vibe without saying “Here I am!” That said as “I’m Your Woman” moves towards its conclusion, it does take risks creating a brutal but riveting sequence at the end that although budgetarily constrained does relate a grittiness. The title itself is an odd one as it means different things but doesn’t truly explain the intent of the film. “I’m your Woman” though seems to know what it is and doesn’t shy away from its identity.

B-

By Tim Wassberg

IR Interview: Billy Bob Thornton For “Goliath” [Amazon-S3]

IR TV Review: CARNIVAL ROW [Amazon-S1]

Immigration stories tend to be cyclical but they show the undeniable structure of human spirit. The one great thing fantasy does, whether it be in “Game Of Thrones” or “Lord Of The Rings”, is that examines the notion of human behavior in its many shapes and forms. “Carnival Row”, the new Amazon series, is nothing if not a more tame version of “From Hell”. It wants to hit a wide audience and yet have something for everyone. In its two lead stars, Orlando Bloom and Cara Delevingne there is an interesting structure at play both because of their previous roles but also how their real lives distinctly push the plot in a certain way. It is well constructed in that way since the essence of their love and strife as the characters parallels the journey in a way that is genuine. Delevingne’s choices have been good for the most part (even with “Valerian”) but a bit below the radar. Bloom with his “Rings” and “Pirates” cred (even though he often gets some grief of being the second guy in the franchises he has been in) still challenges himself. His character here is the lead but is understated which belies the heart with which he plays it. It is an interesting irony seems this inspector character wears so much on his sleeve and yet betrays nothing. This character of Philo is a man fueled by secrets but it is interesting to see who he shares it with.

Like films set in the Old West, there is a certain lawlessness that is burrowed in this world with a degree of civility. This imbalance is what makes the plot work as it is the viciousness that lies underneath (without giving too much of the plot away) that fuels the fire. The progression is also about subversion. One of the most dynamic subplots examines the history and consolidation of power in a very specific way. While these are mostly secondary players these ideas are being examined through, their intention plays very much in tandem with the overall plot. Another aspect structures in the elements of class with an unlikely pairing but one that speaks of bridges and not denying those who fall in love. David Gyasi, who has picked to be part of some very interesting films, most specifically “Interstellar” and “Annihilation” is superb and understated here, again making a perception both on history but also on tolerance in a way.

All of this of course is in play from the main relationship structure between Philo and Vignette, Delevingne’s characters. Without giving too much away, the aspect of truth and consequence plays heavily in their journey. While both actors are trying admirably, the chemistry is seemingly not there for the most part. Delevingne is not a natural actress but she is getting undeniably better. Bloom’s chemistry actually with another actress is more palpable which might slightly be a function of the plot but also of the actual structure of what the story is. The similar aspect can be said of Delevingne and a former flame within the story as well. It is an interesting dichotomy that gives the story and its player indeterminate layers. Of course, the aspect of “Carnival Row” moves within the nature of the underworld or the power that moves beneath it.

The idea of family and what that connotates figures heavily into the proceedings. That power is incumbent throughout most of the season with The Chancellor played by Jared Harris and his wife subtly and then overtly moving and pushing buttons. The nature of their power is driven by love and perhaps fate. All of these characters are seemingly on a path of their own choosing which is nonetheless orchestrated by someone else. The show does well is not overdoing its technical elements making it functional enough without overdoing the CG elements. It in many ways mirrors “Warrior” on Cinema. Though that show is set in late 1800s San Francisco, it parallels the aspects of the downtrodden who in many ways don’t have a say within their own destiny until they actualldo. “Carnival Row” again shows Amazon’s continued predilection for interesting stories without going too far left field which sometimes other streamers do in an effective way to create interest. The most important angle is to tell the best story while not losing track of the actual story being told.

B+

By Tim Wassberg