Film for the Soul

David Fincher, 2007

I'm always wary of films that use the prefix 'based on true events', it's usually a warning sign in code stating 'yawn fest ahead'. More often or not those films tend to be extremely tiresome with it's fixation of telling it 'like it happened' with little in the way of imagination or artistic license, a simple paint by numbers job and hey presto! Here's your Oscar. Fincher's Zodiac however goes against the norm by creating a hugely watchable, creative and tense thriller chronicling the unsolved 'Zodiac' killings that swept San Francisco in the 60's and 70's; the work of a serial killer who sent ciphers and letters to local newspapers and police, teasing them with grisly facts about murders and inducing panic in citizens with tales of mass homicidal fantasies.

Spanning 30 years, Zodiac covers the original murders, filmed in chilling Fincher style; solidly backed up with careful, meticulous mise en scene detailing the time and space of the era, the gaps between murders and the repercussions that swept up the lead protagonists, detective David Toschi (Mark Ruffolo), reporter Paul Avery (Robert Downey Jr.) and cartoonist Robert Graysmith (Jake Gyllenhaal). Thanks largely to muddled jurisdiction laws, waylaid evidence and incompetence, The Zodiac (a self titled moniker) is able to continue their killing spree and to this day has still not been identified; although a strong lead culprit has heavily been hinted at their is still no final resolution.

Fincher has gone to great lengths to make the audience ''feel' the Zodiac case as it progresses, there's a real stench about the crime, it's subsequent attempts to track down the killer and the going over and over of evidence. In light of the sheer quantity of facts, suspicions and characters, Fincher has brought together an impressive film that's both suspenseful and at times deeply frightening. The audience are never pandered to as we're thrown massive chunks of dialogue, names, dates and police jargon, alongside writer James Vanderbilt, Fincher finds a clarity of storytelling that cuts through the constant red herrings, dead ends and misinformation.

The way in which this is achieved is by telling the story through it's living victims, namely our three protagonists, who we watch as the years go by, slowly being consumed by the case until it eats them inside out. Methodically, astutely and with purpose, Detective David Toschi follows lead after lead, knocks on doors, gains warrants and sifts through endless paperwork, believing in the job and that he's only a step away from capturing the man he believes is responsible.

Cartoonist Robert Graysmith, a naive and quiet man, becomes obsessed with the Zodiac to the point where he's deciphering the letters; he works at the local paper where the letters are sent, in his spare time; it's on two of his books (Zodiac and Zodiac Unmasked) which the script is based. Reporter Paul Avery makes his name with the case, becoming something of a celebrity and at one point is said to be a target for the Zodiac, all three become the films unspoken victims, chewed up and spat out, all three destroyed in their persistence of evil.

The more the trio delve into the case the more they become part of it, Toschi's police partner William Armstrong (Anthony Edwards) quits the case just before he gets in too deep by transferring to another department, the reason for the switch, after being such an active part in trying to track down the Zodiac, is hidden behind having to keep himself safe for his young family but the message is clear; get out before this swallows you up. That 'swallowing' is told perfectly through Graysmith who's involvement in the case makes him disregard everything else in his life that he once held dear; a scene in which his naivety leads him to a darkened basement, being one of the films highlights, pinpointing the reckless risks taken for the sake of an obsession.

Maybe Zodiac is a tad overlong but it's certainly satisfactory and I see why it made so many critics top ten list last year, it's a respectful film in the classical sense from Fincher, a picture of maturity and composure. San Fransisco is captured in it's 70's glory in beautiful wide shots, dappled lights and colours fill the skyline, evoking memories of those glorious cop shows from the same era. Fincher's love for the crime genre is evident, he has a real knack for absorbing information and letting it slowly drip feed the audience, we live of scraps for such a long part off the film yet the anticipation is palatable.

Perfectly paced and told, Zodiac shows a true sign of things to come from Fincher, I've found his earlier films, though entertaining, slightly irritating and brattish, with this feature though I think we're seeing a real voice on the horizon. This is a film of ambition and cinematic verve, it's downbeat story may not be to everybody's tastes, with it's unresolved ambiguous finale, yet who can deny its final scene?

"I need to look him in the eye and I need to know that it's him "


Originally posted on:Film for the Soul

No. 13 - Paris, Texas (Wim Wenders, 1984) Ranked #299

As chosen by the 'Film for the Soul' community

I think it makes sense to be afraid... who wants to fall from a great height? - Travis

Staggering towards the camera, walking out of the vast wilderness of the Texas deserts comes a man (Harry Dean Stanton) who's face tells of a million stories. His clothes are worn, his eyes are sunken and dead, scraggly bearded and with a vague idea of where he's heading the man continues afoot. The camera takes in the terrain in vast cinematic scope, Ry Cooder's music twangs laconically over scenes of deep red mountains, dry and dead tumbleweed and, for good measure, a hawk flies into shot and rests on a rock. Yet the man takes none of this beauty with him, he walks purposely but without compass, hoping that he can walk far away from whatever hell he left behind.

So begins Wim Wenders Palme d'or winner of 1984, Paris, Texas. The man is Travis and we're told the story of his search, firstly for himself as he recovers his mind and his memory, and then for his family; his abandoned son, Hunter(Hunter Carson), now living with his brother Walt (Dean Stockwell), and his brother's wife Anne (Aurore Clement), and then for his estranged wife Jane (Nastassja Kinski). Travis has been found collapsed, dehydrated and fatigued, in a desolated bar with only his brother's phone number on his person, not knowing where his brother has been these past 4 years he drives out to pick him up, eventually convincing him to come back home.

Travis remains mute for the first 20 minutes of the film, staring blankly ahead into the void, unable, or unwilling, to communicate. His brother, his patience pushed to breaking point, finally yells at Travis, losing his temper with him on the long journey home, pleading with him to speak until finally Travis mutters his first word; Paris. The Paris referred to is not the one of France but of Texas where Travis owns a small piece of land of which he has a photo showing the dry, arid plot, convinced this is the place where he was conceived.

Wenders, as the title alludes to, has directed a film with a deeply affecting mix of American and European sensibilities, with the eyes of an outsider Wenders, along with his cinematographer Robby Müller have captured an America that most of its inhabitants take for granted. I was reminded of Vladimir Nabakov's novel Lolita, another foreigner in love with the hypocrisy, pop culture and idolatry of America, with shot after shot of billboards, freeways, skyscrapers, vast deserts and diners, soaking up the Americana as advertised on tv.


Originally posted on:Film for the Soul

If ever a film summed up a period of my life it's this one. 20, single, out every night, gigging, drinking - essentially being young. Then along comes Trainspotting. It's as if it were made for me.

The mere image of a young Ewan McGregor running down the street, chased by security guards to the ferocious beat of 'Lust to Life' by Iggy Pop evokes memories that will last a lifetime. The great thing about this film is that its lasted the test of time, its a product of its day but it's still funny, relevant and glorious.

Behold the junkie king that is Renton.



Originally posted on:Film for the Soul