"While We're Young", bohemian like you

While We're Young 

Very nice and welcomed surprise. Didn't know what to expect about 'While We're Young'. I have a strange relation with Noah Baumbach's movies, Loved 'The squid and the whale', liked the utterly dark 'Margot at the wedding', but I don't want to watch it again. 'Greenberg' was quite ok too, but I'm scared to death to watch 'Frances Ha' (seems a movie for hipsters), and I thought this one could be a very weak film, something several reviews stressed. Happily, there was no reason for my fears.

'While We're Young' might easily be the most balanced and, I guess, accessible of Baumbach's films to date. That assessment means two important facts. First, the bitterness and poignancy of many of Baumbach's previous works is virtually gone. As a matter of fact, the movie is a comedy, a satire. And second, the characters are likeable. This is, of course, a matter of personal taste. But aside the aforementioned 'The squid and the whale', in my opinion, his best movie yet, that makes leading characters Josh and Cornelia, played with conviction and some sort of charm by Ben Stiller and Naomi Watts, the most interesting, relatable, well-rounded, flawed, irritating at times and, therefore, human Baumbach has ever created.

Yeah, I have read the comparison with Woody Allen and, although I admit it hurts me quite a bit (I'll always be a fan) it is true that Baumbach has constructed a more credible, contemporary and refined story about the behavior of intellectuals than Allen's latest efforts. 'While We're Young' portrays this stucked couple trying to prove themselves they are still "in", still bohemian, still hip, although they have grown up. How do they try to connect with the times? Befriending, Jamie and Darby, played smoothly by Adam Driver and Amanda Seyfried, a free-spirited couple still in their twenties, after the younger hipsters approaches Josh after one of his boring classes on filmmaking (Josh is a documentary filmmaker).

'While We're Young' works admirably as a funny game of contrasts. Old friends having kids and making their existence surrender to the babies, while the couple of hipsters celebrate a 'street beach' event or an Ayahuasca ceremony (leaded by Dean Wareham in an hilarious role). One looks scary, the other one intriguing... but scary too? Baumbach is just saying: both generations are quite ridicule, and is pretty easy to mock them. Oh yes! Here's another unmissable vynil for your record collection. Oh yes! Can I have a better Ipod for my daily running exercise? Cool and laughable, childish, at the same time. It also makes you think about yourself for a second (and in a lightweight manner). As someone who is in between both ages, and who works/deals within a hipster environment but has never been or felt part of it, many of what appears in 'While We're Young' sounds extremely familiar... I'm writing this review while listening the new Churches album, completely shocked this is "what you should listen now" when to me sounds suspiciously similar to Carly Rae Jepsen. Didn't we agree 80s electro-pop is embarrassing?

The movie also attempts to explore one of the 'controversial questions': what's authentic then? It might the weakest side of the film, because Jamie's convictions as a filmmaker (Darby's to a lesser extent too) are not really exposed if compared with Josh's adamantium but lost aims. But despite that might be a shortcoming, it do serves well Baumbach's purpose of showing people with good and insufferable qualities as well, complex and multidimensional, trying to do something with their life as they keep growing. Highly recommendable, whether you are a young hipster or an old bore, hahahaha...

SCORE: 7,25/10

"God Help the Girl", the hipster musical

God Help the Girl

Me and the musicals, chapter 25.

My relation with musicals has been an excruciating one. The vast majority of them are...umm... how to put it politely, ridiculous. Annoyingly shallow, empty films with never-ending choreography's and little-to-zero worries on the script, which are usually lame. And although that's not the case with 'God Help the Girl', it's hard for me to consider it a triumph.

For sure, it's an ok movie, with gorgeous music (couldn't be any other way? We are talking about Stuart Murdoch) some charming visual/music numbers and wonderful aesthetics (if you are into that contemplative-clothing-advertisement, 110% hipster look). There are occasional sparks of brilliance, in the form of witty one liners and some funny conversation about music. Plus, of course, it has Scotland in the background. Special vibes.

But being completely honest, is that what makes a film worth praising? I have my doubts, which mainly are addressed to Murdoch’s script. He has the ability of putting many feelings in the songs, something he has proven for almost twenty years now, but what happens when there's no music? It might be just me, but 'God Help the Girl' suffers, at times, quite painfully, when actors have to deal with words and situations. And not because they aren't trying. Emily Browning is convincing as the fragile but at the same time determined Eve. Olly Alexander is perfect as James, the smart-sensible-shy-but a bit snobbish guitarist. And Hannah Murray is the carefree, lovely loony Cass, the last vortex of the triangle involving romance, friendship and a wonderful bunch of songs. And THE GENTLEMAN, the great Neil Hannon, has a fantastic tune too!

No, the problem is not the acting. In my opinion, 'God Help the Girl' has an awkward tone and an even more odd balance between the story of Eve issues, a pretty serious drama, and the story of of creating a (very hipster and yes, utterly talented) pop band while dealing with friendship-romance. Sure, it all sums for a coming of age tale, but the contrast makes the movie feel a bit strange & disjointed from scene to scene (or from scene to song). The overall feeling I had is that I'm in front of a long videoclip (quoting the words from Antonio Llarena from my beloved When Nalda Became Punk). It's a nice one? Well, the music, for the most part, is wonderful, and each time there's a song, the movie achieves a level of grace... that almost evaporates once the music is over. Besides, it kind of annoys me the amount of importance the aesthetics have. I get the costumes are connected with the songs they are playing but to that extent? It makes "God Help the Girl" look like the poppiest verision of an H&M advertisement.

So, me and the musicals, chapter 25? Probably among the best musical soundtracks... but far from the best movie.

SCORE: 6/10

Hypnotized by Beach House

Beach House (+ Marquis Tolliver). Sala Apolo, March 13th.

Beach House at Apolo. Photo: Bloodbuzzed 

It was my second time watching Beach House live, but to me is like I have been in front of two completely different bands. The Fly Me To The Moon gig on July 2011 wasn't a bad gig. On the contrary, the place, the open air location without massification on a pleasant summer night was quite special. I also remember the visuals and the magnetic atmosphere created. But this past Wednesday at Apolo was something else. Something more.

Mr. Tolliver. Photo: Bloodbuzzed

And the start wasn't that promising. Beach House is now a "hipster" band without discussion. So occasional fans or people that just "have to be there" abounded at a extremely packed Apolo (sold out both nights). Of course, that means annoying people worried about their Iphone not about the music, and a usually pretty and comfortable venue transformed into an unreasonable sauna.

Besides, we have the issue of the support act, Marques Tolliver. Curious? Yes. Intriguing? Sure, for a little while, a guy that shows up with just a violin and his voice in front of an audience that doesn't have a clue about your music was something. But it quickly felt flat, seriously flat at least for me... and extremely short! 5-6 tunes and over! I can see his talents... but the songs didn't sound that impressive or even original. Let's concede the doubt of how a gifted musician like Marques might improve backed by a full band.

Scally & Legrand. Photo: Bloodbuzzed

Anyway, after an extremely long wait on which hipsters... sorry, people, fought to have the best possible position, Beach House appeared on stage. It was immediate communion with the audience, and the Baltimore duo, a trio live, didn't waste a second to focus exclusively in the music. And on a much more intimate distance, you can see the band really lost themselves into their songs. Victoria Legrand bursts of energy, with its shaking mane of hair, is one of the most iconic images music has given in latest years.

Setlist was nearly flawless, although that's not that surprising considering it was virtually reduced to “Teen Dream” and “Bloom” tunes. Arguably the only low points of the gig were oldies "Gila” and "Apple Orchard", but the rest of the was a succession of dream pop hits, wonderfully played. Scally's guitar lines perfectly drawing melody lines in between the keyboards haze, and Legrand's voice, sometimes subtle, sometimes thunderous, always intense and emotional.

Magic band live. Photo: Bloodbuzzed

Many songs stood out.“The Hours”, "Silver Soul", Zebra”, "Wishes" or the immense "Take Care" under the starry night created by the stage visuals (less striking that the ones used two years ago, but wonderfully merged with the songs). But it wouldn't be fair to just highlight some tunes. From opener "Wild" to closing "Irene", Beach House's gig has to be celebrated as a whole, as a unique cohesive experience, like a collective hypnosis session. Hypnotized by music. A wonderful way to escape from ourselves for a while.

"Damsels in Distress", a hipster comedy?

Damsels in Distress

Here's a good film to start a debate about the "meaning" of making films, about the purpose of cinema. After watching a film like "Damsels in Distress" the question came to my mind again: should a director think on the audience when filming? or exclusively on what he/she wants to say?

Because this film is an attempt of making a really original comedy, but it doesn't work (I would add at all), or I guess it just works for director Whit Stillman and his legion of fans. I ask myself: what's the purpose of a comedy? making you laugh and/or have a good time, and if the film is very good, do that while making you think. "Damsels in Distress" doesn't make you laugh and sorry, I don't think it really wants to say anything. But what puzzles me more is that I don't believe Stillman cares about that.

Deadpan, off-beat comedies I have seen a few, is not that surprising, but I can guarantee you watching this film is an odd experience, at least for a (long) while.The dialogues on which the characters are involved are unique. But they are not just surreal or crazy, which could lead to a very suggestive film (like Spanish masterpiece "Amanece Que No es Poco", the recent "Submarine" or the craziest moments on Woody Allen's or Wes Anderson's filmography). Dialogues and characters attitudes are pretentiously ironic (I concede the qualification of pretentious, for sure) off-putting, deliberately bizarre and to me, frequently irritating. It really takes a while and a considerable effort to go on for the viewer.

If you do, you'll find yourself more or less involved in its college story, one where guys are desperately stupids (some fun here) and girls completely insufferable. But in my case at least, I went on just for the sake of figuring out whether or not there was a goal, an end, a conclusion where all these strange kids could reveal something, not because I was going to find something satisfying. And although by the middle of it you get used to this sort of awkward humour and occasionally you will laugh, once the credits end, there's nothing to talk about or worth remembering. Just a very eccentric film, just for the sake of being eccentric. Right now I'm thinking of a dozen of ultra-cool indie bands, with enjoy quite a successful position on alternative industry who, of course in my opinion, "sell" that sort of eccentricity... while lacking songs. Yes, know I get why Stillman and hipster are words commonly used in the same sentence. Unfortunately, is that meaning of hipster that means: "Look how I wear! Check my instagram! Read my very important tweet in the middle of a concert! and How I scream the only song I know about the NEXT BIG THING Pitchfork magazine has written about!"... Sorry about the rant.

Then again, I'm pretty sure Stillman must be satisfied with his work, achieving what he was aiming for or how he directed the cast (I have read fantastic comments on Greta Gerwig's performance, is true she's convincing on her role... but unfortunately is also part of this film). But sorry, is that enough? That makes Stillman an author? I doubt it, because I can only qualify "Damsels in Distress" as a seriously failed film. Or at the very least, a film that wasn't for me.

SCORE: 4,25/10