The setup for Hustlers isn’t anything new. This is The
Big Short meets Goodfellas meets Robin Hood meets Showgirls.
But despite the lack of a fresh concept, it’s still an entertaining movie.
The story, based on a New York magazine
article, follows newbie stripper Destiny (Constance Wu) at a NYC club circa
2007. She stumbles until she meets Ramona (Jennifer Lopez), the seasoned star
of the club. The pro takes Destiny under her wing, teaching her how to dance
and seduce the customers (without actually giving anything away). The money
pours in until the stock market crashes in 2008. Everyone loses and has to
start over. Cut to 2011, where a struggling Destiny, who quit dancing after
becoming pregnant, reunites with Ramona. This time her mentor has a new lesson:
luring, drugging, and stealing from rich Wall Street guys. It doesn’t take long
before the two friends have a ring of girls scamming their way through
Manhattan. Once again, the (illegal) money flows, until the shit hits the fan.
The standout in the movie is Wu. She works to make
us sympathize and root for Destiny, even when she’s doing horrible things. There
has been Oscar talk about JLo’s performance and I have no clue where that’s
coming from. It’s not that she isn’t good. But let’s not get crazy. This is
maybe a Golden Globes nominated performance. Maybe.
Director/screenwriter Lorene Scafaria injects a
good deal of heart and humor amongst the flash and crime. And so many slow-motion
sequences. Bonus points for costume designer Mitchell Travers’ creations. He
does an incredible job of capturing the fashion of the 2000s. It’s all
appropriately tacky. UGG boots and velour Juicy Couture sweat suits for
everyone! The little bit of material used to barely cover JLo’s body is also
impressive.
At one point, Julia Stiles’ reporter character, who
has been interviewing Destiny, mentions that she doesn’t feel bad for the men
that were victimized. I think a lot of audience members feel the same way. It’s
not so bad when rich douchebags take a fall. It also makes for a fun time at
the movies.
There’s no better way to celebrate the holiday than to schedule a movie marathon with Crystal Lake’s favorite serial killer, Jason Voorhies. You don’t need to see every film in the series because, frankly, a lot of them suck. Here are the five you should go with.
1. Friday the 13th (1980)
The classic film that started it all. This set up Jason’s origin story and the path the other movies would take: dumb horny teen camp counselors getting chopped up one by one. The formula works. I especially like that it’s creepy, spooky, and light on the gore compared to what would come after. Yes, final girl Alice (Adrienne King) is an idiot that you want to slap around, like Mrs. Voorhies (Betsy Palmer) having a fit. Yet, you still root for her to live. Plus, it has one of the best shock endings in horror. Get out of that boat, girl.
2. Friday the 13th Part 2 (1981)
Adult Jason makes his first appearance. No, he’s not wearing
the iconic mask, but that sack with the eyehole cut out is just as terrifying. His
adversary, Ginny (Amy Steel), is much smarter than the one who came before her.
And, there’s a wild chase sequence that really amps up the tension. Word of
warning: don’t stand in front of big windows. Nothing good can come of it.
3. Friday the 13th: The Final Chapter (1984)
One of the best in the series and where it should have ended. It says so in the title. There’s a great cast here, especially a young Corey Feldman (Tommy). He’s a smart kid who can actually take Jason down. How he does it is batshit crazy and that makes it all the better. Big points for Samantha (Judie Aronson) voluntarily jumping out of a second story window and actually surviving. She’s tough, man.
4. Friday the 13th Part VIII: Jason Takes
Manhattan (1989)
It’s utterly absurd, stupid, and cheesy. But that’s not a bad thing. This falls under the it’s so bad it’s good category. You have to love it for the title alone.
5. Friday the 13th (2009)
Few remakes or reboots live up to the original. This one is better than expected. The premise with final girl Jenna (Danielle Panabaker) and Jason makes zero sense, but just go with it. There are some genuine scares here and a scary as hell opening sequence. A nice way to round out your marathon.
We’ve come to the end of the road. Like a sad Boyz II Men song. It’s time to wrap up everything for the last episode. Fingers crossed that there’s more in the future.
The cast has gathered at the Peach Pit for the reboot wrap party. Everyone’s surprised that they actually finished the pilot. Now they just have to wait…and wait for news about a pickup. Unfortunately, The O.C. made their own reboot that’s vying for a slot on Fox’s schedule. To be honest, I never got into that show. Orange County can’t compete with Beverly Hills. Just look at their Real Housewives.
Meanwhile, Jennie is getting attitude, again, from her teenage daughter. Oh joy, she’s in this episode. Much to her annoyance, Kyler idolizes Shannen. Who wouldn’t? Brian fills her in on Jennie and Shannen’s frenemy years. This includes the red dress story. Side note, that was a real thing. At the 90210 season three cast photo shoot, Jennie, Shannen, and Tori all wanted to wear a red dress (see photo above). It was a bloodbath. Well, not literally.
Shay confesses to Brian that she had her private investigator run a DNA test on Zach. Brian, you are not the father! He’s more upset about Shay doing this behind his back than he is about the truth. He accuses her of hating Zach from the start because the relationship wasn’t about her and she couldn’t control it. LaLa’s acting is atrocious throughout these scenes, as usual. On a similar note, Tori and her husband, Nate, continue to fight about the reboot. He finally admits that he’s jealous because the focus is on her while his career is flagging. Such a whiner. Tori and Brian commiserate over their horrible spouses and wonder if they would have been better off marrying other people. Just get together already!
Jennie breaks up with Wyatt after he reveals that he got her initials tattooed on his chest. Oh no, bodyguard. In the Caribbean, Jason tries to make a vacation work with Camille. She forces him to admit that he can’t accept raising another man’s baby. They amicably call it quits. This opens the door for a Jennie/Jason “reboot”. Again, just get together already!!
After an awkward run between Christine and her husband, Phil, Gabrielle comes clean to him about the hookup. He’d already guessed. That lesbionic tension was obvious. Gabrielle promises that she won’t keep him waiting indefinitely while she figures out what she wants. Meanwhile, Ian and Anna are in a NSA relationship, but he wants more. She tells him she’s not feeling that, especially since her mom is an actor. She can’t date one too. This prompts Ian to hookup with Denise Richards (a real original 90210 guest star). Later, it’s revealed that Denise is Anna’s mother. Ian’s appeal truly is multi-generational.
While waiting for the pilot news, the gang manages to get their hands on the feedback from the test audiences who have seen it. These people are not kind. Everyone gets trashed, sending the cast into a tailspin. My favorite comments are from the viewers who thought Brenda and Brandon had inappropriate sibling chemistry. Just like the old days. And the audience members who wanted Brenda to be a troublemaker. No, that was Kelly. “Kelly was a slut!” (Shannen’s words, not mine)
The cast hustles at the Peach Pit Pop-Up, meeting fans and signing autographs. Side note, this was a real thing in LA recently and I’m still sad that I couldn’t go. No megaburgers for me. Shannen shows up late, covered in blood, because she had to rescue a possum that had been hit by a car. Is there any animal she won’t save? Christine informs them that there’s only one slot left on Fox’s schedule. It’s between 90210 and The O.C. The latter tested higher. Damn you, Mischa Barton. They’ll find out tomorrow which one gets picked up.
Brian throws a BBQ at his place so everyone can get drunk while they wait for news. Zach shows up and Brian confronts him about the paternity results. Zach had no clue. His mother always told him that Brian was his dad. Brian assures him that, despite the results, he’ll still be in his life. Later, Brian also reports back to Jason about the paternity drama. He shows him a picture that Zach has of his mom with Brian, back in the 90s. Jason remarks that she looks familiar. And who happens to be in the background of the pic? Jason. He has a flash and seems to be putting something together. Jason, you are the father! Maybe.
The gang learns that the pilot has been picked up. Suck it, O.C. They fly to NY for the network upfronts. Hilariously, Jennie, Shannen, and Tori all arrive to the presentation wearing red dresses. Bloodbath, part deux. On top of that, Christine has more news: they have to redo the pilot, Anna is fired, they need new guest stars (sorry, Kyler), the series will shoot in Canada, and the network can’t afford to bring all seven cast members back. Yikes. Despite these bombshells, the cast has to walk out on stage and meet the press. They put smiles on their faces, hold hands, and march out. Well at least they’re together for now. The end…or is it???#RenewBH90210
Other 9021Notes
The lame spouses and kids really brought the episode to a screeching halt every time they popped up. Nobody wants to see these fools.
Ian’s dream about 2019 Steve Sanders going back to the future to impart wisdom to his 1990s counterpart was funny. Stay away from mullets and midriff shirts, Sanders.
Shannen’s dream about Brenda and Brandon having a “flowers in the Casa Walsh attic” moment was pretty great too.
That was a good use of Weezer’s “Beverly Hills” at the upfronts.
I have to say that this was the best episode of the series.
Everything gelled together to make a really fun show.
The
first day of filming the reboot has arrived. Shannen, Jennie, Tori, and
Gabrielle are getting ready in the hair/makeup trailer. It’s an amusing scene
where they discuss aging, the old days, and men. Tori is worried about doing a
love scene with Brian. All those old feelings are coming back and now she has
to be nearly naked with him and act like she’s enjoying it. Not a lot of acting
required actually. Unfortunately, Christine informs the cast that they’re
shutting down production because of the stalker situation. Torching the sets in
the last episode really made an impact. The gang decides to go all Scooby-Doo
and investigate. They try to figure out who hates them the most and would want
to stop the reboot. It’s a long list.
After
taking a tumble down a flight of steps, Tori has an epiphany. Makes sense. She
gathers up the group for a fieldtrip to a dive bar where the main act is none
other than Jamie Walters. A refresher: Jamie played Donna’s abusive boyfriend,
Ray Pruit (his mama could only afford one T), on the original 90210.
Tori’s Showgirls-like fall earlier reminded her of how Ray threw Donna
down a flight of stairs. Jamie’s career was ruined because the fans hated his
character. The cast accuses him of stalking them for revenge. He denies it. A
TV news story informs then that the real stalker has been caught. He was the
creepy fan from episode two. Sorry, Jamie. To make amends they all sing his one
hit, “How Do You Talk to an Angel”. Ah, the sweet sounds of my 90s adolescence.
Back
on set, Tori is faced with the Brian love scene. The first attempt goes badly
because she’s so nervous and insecure. Attempt two fails because of a meddling
intimacy coordinator on set. Yes, that’s a real job. They finally get it right
with try number three. But Brian also gets an erection, much to his
embarrassment and Tori’s secret delight. 9021Ohhhh
Brian
spent the rest of the episode adjusting to Zach’s revelation that he’s his son.
He hasn’t told anyone, except Shannen, about it. Zach is a little hurt about
the secrecy. Brian tries to smooth things over by getting him a job as a PA on
the show. Things turn awkward after he suggests Zach call him “dad”. Oh no,
BAG. Shannen advises Brian get to know Zach and take it slow. Later, when Jason
snaps at Zach, Brian defend his son. They’re good again and by the end of the
episode Brian has told everyone about his new kid.
In
her trailer, Jennie fools around with Wyatt the bodyguard. He still hasn’t been
reassigned, but he’s ignoring his “no banging the client” rule. Jennie is
smitten and even pretends to like sports because he’s into them. It’s all too
cute, so it will probably end soon.
Meanwhile,
Christine and Gabrielle rehash their hookup. I guess they did more than just
make out last week. Because of an HR crackdown, Christine asks Gabrielle to
sign a consensual relationship consent form. It’s very 2019. Gabrielle isn’t
ready to declare their relationship and this new turn in her sexuality. But
later she’s ready to tell the cast that she’s with a woman, leaving out the
Christine detail of course. Similarly, Ian and Anna are getting closer. They
even arrange to “Netflix and chill”. How 2017. Before things get too heavy,
Anna asks Ian to sign a consent form too. Did a HR director write this episode?
Nothing
is actually getting shot because director Jason is too distracted by his drama
with Camille and the baby. He’s pissing off the entire cast and crew. Jennie
tells him to work out his crap and stop taking it out on the everyone else.
Jason gets back on track, but when Camille calls from an ambulance, he has to
run off set. Will this reboot ever get made?
Other
9021Notes
I
hoped for a better story for Shannen last week and it happened. She was
hilarious in this episode. Always throwing out a zinger. Not recognizing Jamie
because he appeared on the show after she left. Ray who? Asking Siri how many
seasons there were of the original show. That would be ten, Shan. Randomly
eating something whenever they cut to her. And, “rescuing” Tori’s wandering
pets. She stole every scene she was in. Definitely the MVP of the week.
The
dream sequences continue to be wonderfully ridiculous. This week had Brian, as
David, performing at the Peach Pit After Dark with Shannen, Jennie, and Tori
(in their season 2 “Addicted to Love” inspired back up dancer outfits)
accompanying him. Big points for having him take off his shirt. Nice V, BAG.
A
random dude snagged Zach’s used water bottle, presumedly to do a DNA test. I’m
glad someone thought of that since Brian is too damn trusting.
Jennie
reassuring Tori that her sex scene with Brian would be fine because it’s not
real, like her boobs (complete with her bouncing Tori’s implants), made me guffaw.
The
stalker reveal seems too easy. It has to be a red herring…like on a Scooby-Doo
episode.
Twenty years ago, Christina Aguilera released her self-titled
debut album. The late 90s were all about teen pop acts, with Britney Spears,
Backstreet Boys, and NSYNC dominating the charts. 18-year-old Christina fit
right in, but at the same time her incredible voice made her stand out from the
crowd. The album debuted at #1 on the Billboard 200 and went 8x platinum. Let’s
rank its 12 tracks.
12. When You Put Your Hands on Me
You know what Christina Aguilera doesn’t need? Auto-tune. Yes,
the sound effect was very popular at the time (thanks, Cher), but that doesn’t mean
it should have been used. It makes the song sound dated and cheesy.
11. Blessed
Blessed equals boring. It’s a nice song, but far too simple and
slight. I’d listen to this one if I needed something to help me sleep. Zzzzz
10. Somebody’s Somebody
A frequent problem with this album is that the songs sound like
they were written for an older artist. “Somebody’s Somebody” is a prime
example. I would expect to hear this on a Celine Dion album. No, I’m not
calling Celine old. I’m just saying this adult contemporary track is more up
her alley than a teen pop star’s.
9. Love Will Find A Way
Christina sings about getting through the bad times in a relationship.
Don’t worry about the bumps in the road, love will find a way. Eh, I don’t
believe it. But it has an ok breakdown/bridge, making it kind of danceable.
This could be someone’s jam.
8. Reflection
This was the featured song in the animated film, Mulan.
Not surprisingly, it sounds very Disney. A grand, sweeping track about trying to
find your way in the world. It doesn’t mesh well with the rest of the album
though. This feels like she’s going backwards to her Mouseketeer days.
7. I Turn to You
The third single released from the album and the weakest in my
opinion. It’s a very Whitney-like ballad, circa 1991. Nothing’s wrong with that.
But Whitney had better material. There’s nothing special here.
6. Come on Over
After the release of the album, Christina went back into the studio and souped up “Come on Over”, adding some new lyrics and a breakdown. It was definitely an improvement. But if I’m judging the original, with all its hollow generic pop sound, it lands at #6.
5. Obvious
Sometimes you don’t need a lot of production for a song.
Just Christina’s voice and some keyboards will do. This ballad is uncomplicated,
yet powerful, and quite beautiful.
4. So Emotional
“So Emotional” is a enjoyable playful song. I like the layered vocals and easy mid-tempo beat. It was originally intended to be released as a single and I wish her record company had done so. It would have been a better choice than “I Turn to You”.
3. Love for All Seasons
Christina promises to be there for her man through winter, spring, summer, and fall. That’s ambitious and versatile. Another great example of a strong vocal that keeps amping up and enriching the song. It sounds like something Babyface would have produced.
2. What A Girl Wants
A close runner-up to the top spot. “Girl” was the second single off the album and her second #1. It’s a fun blend of pop and r&b. This is the song you blast on the radio and “car dance” to. Yes, that’s a thing. It’s what a girl…or a boy wants.
1. Genie in a Bottle
This has to be number one, there’s no contest. It has sultry vocals, lyrics full of innuendo, and a timeless melody. Definitely the song you want for your introduction to the world and ultimately one of your signature tracks.
I typically
don’t watch sports or movies about sports, but I’m a big fan of North Dallas
Forty. I can’t quite explain it, you like what you like. The movie
celebrates its 40th Anniversary this year, so why not talk about
this exception to my no-sports rule.
Based
on Peter Gent’s semi-autobiographical novel, NDF follows the players on
the North Dallas Bulls football team. Gent, a former wide receiver for the
Dallas Cowboys, knew that world firsthand. Nick Nolte plays Phil Elliott, a
veteran wide receiver who has seen better days. His body is broken from years
of playing in the league and only a steady stream of drugs (pot and
painkillers) can get him out of bed. A love for the game also keeps him going.
But he understands that the men in charge don’t share that same passion.
Head coach B.A. Strother (G.D. Spradlin) obsesses over figures and percentages, wanting to win at any cost. The owners, the powerful Hunter family (Steve Forrest, Dabney Coleman), seek the money and bragging rights. Football is an industry for these men and the players are just commodities. Phil’s best friend Seth Maxwell (Mac Davis), the charismatic Bulls quarterback, knows how to play the “game”. He warns Phil about toeing the company line. But, Phil rebels, making him a target for B.A. and the Hunters. This David & Goliath story forms the crux of the movie. That’s one of the reasons I like it so much. It’s less about football and more about the little guy beating the cold evil corporation. At one point, lineman O.W. (John Matuszak) rails at assistant coach Johnson (Charles During), “Everytime I call it a business, you call it a game. And every time I call it a game, you call it a business. It’s a powerful truthful statement.
Of
course, the actual football scenes aren’t so bad. The lead up to the big game
in Chicago is one of the best sequences in the movie. All of the players are huddled
in a small locker room with nothing to do but wait. Director Ted Kotcheff focuses
in on their anxiety as he cuts from player to player. They pace around, fidget,
perform pre-game rituals, punch lockers, and even pray. As a viewer you feel
anxious yourself as the minutes creep by. The few moments we see of the game
are filled with tension as we wonder if this weathered team can actually win.
It’s incredibly stressful, yet entertaining. Much better than any real-life game
I’ve ever seen.
Now,
all this praise doesn’t excuse the problematic moments in this
movie. Several women are sexually harassed, lineman Joe Bob (Bo Svenson) says questionable
things to his black team mates, and all of the players are quick to throw
around homophobic slurs. Yes, this came out in 1979, but they really should
have known better even then. I still enjoy the movie, but I don’t condone their
behavior. On the flip side, there’s a clear romance going on between teammates
Balford (Alan Autry) and Partridge (Jeff Severson). They enjoy wrestling around
a little too much, have a very intimate conversation in the locker room
(complete with a cheek caress), and they actually kiss “jokingly”. It
would have been nice if that B-story had been explored.
I first
heard about NDF when I read the coffee table book, The Stewardess is
Flying the Plane: American Films of the 1970s. A great book, by the way. I remember
thinking that I should check out this movie sometime and I’m happy I did. Warts
and all, it’s an interesting look at football in that era, on and off the
field.
*Sidenote**
What’s another good thing about this movie? The Gibson Brothers’ “Cuba” on the soundtrack. Such a fun song.
We’ve reached the halfway
point of this “event series”. I’m sad that its gone by so
quickly, but happy that it happened at all. That sounds like a
yearbook quote.
The episode opens with
Gabrielle and Christine having lunch. Gabrielle assumed it was a date
and is mortified when Christine tells her otherwise. She’s new at
this dating stuff. Or non-dating, as the case may be.
Meanwhile, someone has
leaked Shay‘s unfinished pre-autotuned song on social media. Her
singing matches her acting abilities. She jumps to the conclusion
that Zach (cute assistant/stalker guy) did it. Her private
investigator later reveals that Shay’s stylist is the culprit. But,
he investigated Zach too and found his stalker wall. Really shouldn’t
leave that out in the open. Brian confronts him. In the least
surprising moment of the night (and the series), Zach blurts out that
he’s BAG’s son. Who didn’t see that coming?!
Jennie and her hot-bodied
bodyguard, Wyatt, continue to flirt. Unfortunately, the stalker
hasn’t popped up in awhile so Fox is having Wyatt reassigned. But
then someone sticks a knife in Jennie’s tire. Is it the stalker? No,
it’s her stupidly-named daughter, Kyler. She wanted Wyatt to stick
around to make her mom happy. But, he can’t date a client. Jennie
has him reassigned, choosing a hookup over her own personal safety.
The day of the table read
has come. Everyone except Shannen attends. She’s still negotiating
her deal with the network. Turns out she’s not missing much since
the script sucks. Anna really got it wrong and the cast revolts. That
night they gather for the reboot’s launch party and bash her
writing again. Anna storms off. Christine warns the cast that without
a writer, they’ll have nothing to shoot tomorrow. They decide to
fix the script themselves. Because writing is so easy. As usual with
this crew, fighting (and making up) ensues. Ian, who has been
clashing with Anna the whole episode, secretly records it all and
sends her the video. He gets in her good graces while giving her
inspiration for rewriting the reboot.
In the midst of this,
Shannen arrives. But she’s freaked out by all the negative energy
(she’s annoyingly New Age) and runs away. She’s reconsidering
doing the reboot altogether. Tori reports back to Christine, who
reveals that Shannen is making twice as much as everyone else for the
reboot. Wonder if that was true in real life? Tori tells the rest of
the gang and they confront her. She manipulates them into forgiving
her by telling them that her salary is going to orphans. Uh, sure,
Shan.
Elsewhere, Gabrielle and
Christine share a sweet moment. They almost kiss, but Gabrielle is
buzzed and doesn’t want it to be like this. Later on, she loosens
up and goes for a full on makeout session. Maybe she’s getting the
hang of this girl-on-girl thing.
Once again Tori is dealing
with her stupid husband. First, she tries to take out any David/Donna
love scenes so as not to upset him. But then she’s the one upset
when he prefers hanging out with Shay over her. Luckily, Brian gives
her a pep talk. By the end of the episode, Tori is confessing to
Jennie that she has feelings for Brian. You and all the “Silver
Daddy” fans, girl.
Anna returns with a better
script that everyone loves. Good work, Ian. The next day, on the
lot, the cast discovers that someone has painted “stop acting like
I’m not here” on the stage door. And the set is on fire. Cue the
“reboot has gone up in flames” jokes.
Other 9021Notes
I liked that this was a
Gabrielle-centric episode, with her hilarious nightmare about being
back on the show in full Andrea garb. Those 90s vests! And her
touching speech about feeling like she didn’t fit in with the others
back in the day because she was the oldest. She’s getting better
stories here than she ever did on the original 902010.
Kyler auditioned to play
Jennie’s daughter in the reboot, but she can’t act. Then she whined
about getting a smaller consolation part. Riveting. Are we supposed
to hate all the wives and children on this show?
I’m not down with this New
Age version of Shannen. Hopefully there’s a better story for her in
the last two episodes. I did like her nod to Brenda’s horrible French
accent from season three of the show. Exactement!
Up until the other night, I had never seen When Harry Met Sally. No, really. It’s one of those movies that’s so prominent in pop culture that you think you’ve seen it already. You’ve heard the funny lines and watched the clips on those retrospectives. Or even scrolled past a meme that featured a scene. But you don’t totally know the movie. So I decided to actually sit down and watch it. So what if I’m 30 years behind. Here are my takeaways.
Billy Crystal & Meg Ryan have incredible chemistry
In the movie, their characters meet and don’t really like each other. But they have a spark. Eventually they forge a friendship and soon fall in love. There’s not a lot of action here. It’s really just two people talking (and talking) and forming a deeper connection. So you need actors who can make that interesting. Crystal and Ryan do that. They bounce off each other well and make the ups & downs of this relationship engaging. I also have to point out Carrie Fisher (Marie) and Bruno Kirby (Jess). Two of the funniest friends/sidekicks in a rom-com. They steal almost every scene they’re in.
Nora Ephron’s script is the blueprint for romantic comedies
All the plot points that you expect in today’s rom-coms make an appearance. The friction and tension when they first meet. The missed opportunities or miscommunications. And, of course, someone has to make a mad dash at the end to find their romantic partner and proclaim their love. I’m surprised this didn’t happen in an airport. Ephron made theses all staples. Plus she does it with witty quick dialogue and interesting characters. It’s a script that other screenwriters should study.
New York is gorgeous on film
Not a new insight, but the city really pops in this movie. The orange-red leaves in Central Park in fall. The blustery winter scene where they buy the Christmas tree. Museums, restaurants, and fancy NYE parties. Director Rob Reiner captures it all beautifully. It makes you want to move to NY and fall in love. Not that you can afford to do so anymore, but you can dream.
Gurinder Chadha’s Blinded by the Light is a coming of
age movie set to the music of “The Boss”. The story follows Javed (Viveik Kara),
a Pakistani teenager living in the small bleak town of Luton in 1987. Things
aren’t going well for him. His father Malik (Kulvinder Ghir) has been laid off
from his factory job, his mother Noor (Meer Ganatra) works all hours to scrape
up a little money to support the family, and members of a hate group attempt to
force minorities, like Javed’s family, out of town. He finds escape through writing
poetry, something his strict father disapproves of. Malik would rather have a
son with practical aspirations.
Things take a turn for the better when Javed meets fellow classmate, Roops (Aaron Phagura), who introduces him to Bruce Springsteen’s music. The moment he pops in the cassette tape, his world suddenly opens up. He instantly relates to the lyrics. Springsteen sings about getting out of a dead-end town and following your dreams. His words embolden Javed to work on his poetry, stand up to his father, and even go after the girl (Nell Williams) he has a crush on. So much of the film rests on Kara’s shoulders and he doesn’t falter. He shows Javed’s growth as he comes into his own. It’s a fantastic performance, especially considering this is his first starring role.
What I enjoyed most about this film was the powerful effect that
music had on Javed’s life. He’s inspired to reach further because his hero’s
songs urge him to do so. But in the end, he discovers that he was always
talented and capable. Springsteen’s words didn’t give him a voice, they merely
helped him to find it. Amongst the teenage angst and discovery, Chadha expertly
weaves in the theme of the importance of family. Ultimately, Javed is able to build
a bridge between his evolved identity and his loved ones. It’s a heartwarming
story that might have made me tear up a bit…maybe more than a bit.
**Sidenote**
I always thought “Dancing in the Dark” was a simple pop song that Courtney Cox danced to on MTV. Turns out there’s more to it. Having the lyrics projected on screen in Blinded gave me a better appreciation for Springsteen’s writing. I’ll definitely be buying a record or two of his.
NostalGeoff 