FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Francis Ford Coppola |||
Francis Ford Coppola

Coppola is an amazing talent whose inspiration and influence spans many generations. Virtually the link between the studio system of yesteryear and the independent minded filmmaker of the modern age, Coppola became the first major film director to emerge from a university degree program in filmmaking, thus legitimizing a now common route for many future filmmakers.

This Academy Award winner continues to enjoy an enormous critical and popular success due in large part to Coppola’s ability to break down an epic saga of crime and the struggle for power into the basic story of a father and his sons, punctuating the prevalent theme throughout Coppola’s oeuvre: the importance of family in today’s world. His personal portrait mixed tender moments with harsh brutality and redefined the genre of gangster films.

This intense, yet unassuming thriller has an impact that touches the viewer on a personal level and raises the question of privacy and security in a world of technology – thirty years ago! Coppola’s then virtually unknown cast is a roster of inevitable superstars, including Gene Hackman, Harrison Ford, and Robert Duvall. This Academy Award nominee for Best Picture, Best Original Screenplay, and Best Sound lost out to Coppola’s other great effort of the year, The Godfather: Part II.

Coppola's masterful Vietnam War-updating of Joseph Conrad's "Heart of Darkness" was the first major motion picture about the infamous “conflict”. This colossal epic was shot on location in the Philippines over the course of more than a year and contains some of the most extraordinary combat footage ever filmed. Unforgettable battle sequences and sterling performances from every cast member (including Marlon Brando, Robert Duvall, Dennis Hopper, Laurence Fishburne, Harrison Ford, Scott Glenn, and Martin Sheen) mark this Academy Award-winning drama as a must-see for any true film fanatic.

Recommended by CarrieSpecht

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Happy Endings

By BrianOrndorf

July 15th, 2005

With “Bounce,” Don Roos demonstrated that he didn’t need cynicism and independent film crutches to get by as much as he did in his disagreeable debut feature, “The Opposite of Sex.” “Happy Endings” finds the director grimly returning to his roots, crafting a film that is neither interesting nor enjoyable. A fine stable of actors are left out to hang with Roos’s limp multi-character screenplay.


As teenagers, stepsiblings Mamie (Lisa Kudrow) and Charley (Steve Coogan) enjoyed a moment of passion, soon giving birth to a boy that was put up for adoption. Years later, an unwashed film geek named Nicky (Jesse Bradford) comes into Mamie's life with information on her son's whereabouts. Intrigued, Mamie offers Nicky a chance to make a documentary on her masseuse boyfriend's sexual activities at work while she investigates the validity of Nicky's story. Across the city, Jude (Maggie Gyllenhaal), a homeless, wandering free spirit has just found her meal ticket with a rich family (Jason Ritter and Tom Arnold) that she slowly seduces and destroys to suit her needs.

Five years ago, writer/director Don Roos lost a good portion of his fanbase by taking on the more Hollywood-minded "Bounce," a romantic drama with Gwyneth Paltrow and Ben Affleck. A charming, compassionate creation, "Bounce" thankfully took Roos a million miles away from his caustic, unfunny debut, 1998's "The Opposite of Sex." "Happy Endings" appears to be Roos going back after the "Sex" crowd that left in a huff once Paltrow and Affleck started making googly-eyes at each other. The desperation to be witty and sarcastic has returned to Roos in a big way with "Endings," as well as the tedious nature of his scriptwriting.

As with "Sex," "Endings" is a multiple character saga about deception and one-liners, sold with Roos's predilection for meek comedy and cutesy character flourishes. This isn't a well balanced film, which is evident in the way Roos undercuts all the performances by placing expository title cards on the screen to spell out character motivations and futures. This brings back the lackluster vibe of "Sex," which aimed for snarky comedy and undeserved pathos, and failed miserably. "Endings" is a cinematic step up from "Sex," but missing are the well-rounded and empathic textures of "Bounce," which Roos tries unsuccessfully to recreate in the finale of "Endings."

Also notable are the hair performances in the film. It's odd to mention, but I can't imagine this went by Roos unnoticed. Every character has a haircut that defines their personality, whether it's Mamie's "I have secrets" dark bangs, Jude's "I can't be trusted" messy buzz cut, or, obnoxiously, Nicky's greasy long hair which screams "hipster Hollywood" (complete with ironic heavy metal t-shirt and film-making aspirations). The hair eventually becomes distracting since the cast can't keep their hands off their own heads, and is shamelessly there to provide character identification that Roos can't seem to conjure in his script. "Happy Endings" needed much more than the intricacies of styling gel to explore the heart of its characters.

My rating: D+