Tag Archives: B-

THE GREATEST GAME EVER PLAYED

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B-

The ever-popular cinematic sports formula about the underdog who wins against apparently hopeless odds takes to the links in Bill Paxton’s well-meaning, nicely appointed but uneven biopic about Francis Ouimet, the young fellow from a distinctly lower-class background who, in the days that golf was an exclusively upper-crust pastime, was the unlikely winner of the 1913 U.S. Open, besting not only the American camp John McDermott but also top British players Harry Vardon and Ted Ray. “The Greatest Game Ever Played,” adapted by Mark Frost from his non-fiction book on the contest, is an account of the game itself, of course; but it wants to situate the event within the context of the “democratization” of the sport, by telling both Ouimet’s story and that of Vardon and Ray. Those two, after all, came from un-aristocratic backgrounds themselves, and were always treated by their snooty patrons (including the newspaper mogul sponsoring their presence at the Open and the noble player who accompanied them) with a lordly condescension only one step removed from class-based contempt. So while golf-lovers may be most disposed to embrace the movie, its larger social message will also make it accessible, “Rocky”-style, to those who’ve never picked up a nine-iron.

Shia LaBeouf plays Ouimet, who grew up literally across the street from the course on which the Open was played and who (as we’re shown in early scenes where the character is played by Matthew Knight) was fascinated by the game (and Vardon) at an early age. But though Francis’ mother Mary (Marnie McPhail) tolerated his interest affectionately, his father Arthur (Elias Koteas), having experienced humiliating treatment at the hands of social superiors, tried to deter his son from taking up the sport. But the boy became a caddie at the country club, and his natural ability was soon noticed by some of its more enlightened members, who sponsored him in an amateur tournament, in which his father permitted him to compete only under condition that he’d give up the sport if he lost. When he failed to win, his avocation seemed over before it had even begun, but he was recruited anew for the Open, to which Vardon (Stephen Dillane)–a farmer’s son risen to golf greatness in England although his patrons still treated him with disdain, and Ray (Stephen Marcus), a great bear of a man with a powerful swing–were sent by press mogul Lord Northcliffe (Peter Firth) to bring the trophy to England. The contest that follows becomes, in the hands of scripter Frost and director Bill Paxton, an account of the tournament that focuses not only on the major players–Ouimet, Vardon, Ray and, to a lesser extent, defending champion McDermott (Michael Weaver)–but on Ouimet’s unlikely caddie, a pint-sized, hardscrabble kid named Eddie Lowery (Josh Flitter). And the picture takes time to show Francis’ halting romance with Sarah Wallis (Peyton List), a society girl whose father would hardly approve of their mutual interest.

It could hardly be said that the plot of “The Greatest Game Ever Played” follows a trajectory that’s in any way unexpected–even it this weren’t based on a true story, one could predict every narrative stroke–but the filmmakers manage to make it more winner than loser, if only by a hair. Frost keeps things clear, even if on the personal side he too often goes for the easy effects. LaBeouf evinces a nice sense of earnestness as Ouimet, even though the period clothes don’t succeed in hiding the fact that he never seems entirely in sync with the early twentieth-century setting; and though McPhail and Koteas strike fairly one-note effects as his parents (she sweetly concerned, he brusquely dismissive–and with an accent that could rival Jon Voight’s untraceable “Anaconda” one), and List isn’t significantly better as sweet Sarah (though she certainly has a pleasant smile), Flitter easily takes crowd-pleasing honors as the squat, cheeky caddie–a sort of Dead End Kid on the Links. Oddly enough, it’s the British side of the story that carries the greater resonance. That’s not because of either Firth or Marcus; the former offers a snide caricature, and though the latter gives Ray an imposingly gruff presence, he’s hardly subtle about it. But Dillane offers a performance of refinement and subtlety as Vardon, conveying the man’s sense of submerged resentment beneath a surface civility; in many ways he makes the Brit the most interesting, and affecting, character in the story. Weaver, on the other hand, is allowed to snarl and shout too much as McDermott.

Paxton’s work is as mixed as that of his cast. On the one hand, he and cinematographer Shane Hurlbut give the picture an elegant look, and work with the effects crew headed by Dennis Berardi and Pierre Rivard to devise some striking means to show the motions of the golf balls. But he’s not as successful in toning down some of the script’s more sentimental or otiose moments; this picture doesn’t exhibit the same degree of control as his first feature, “Frailty,” did, slipping too often into the sort of florid emotionalism that so often afflicts these kinds of uplifting sports tales. Brian Tyler’s score gets somewhat blowsy at times, too.

Despite the obvious flaws, though, Paxton’s sophomore feature is a reasonably diverting–and, in the portion of it dealing with Vardon, even insightful–effort. It doesn’t score a hole in one, or maybe even a birdie, but ultimately it sinks a close putt. So the title’s definitely an exaggeration; this isn’t a great game, but it’s a pretty good one.

MONDOVINO

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B-

Devotees of the singularities of fine wines will undoubtedly nod their heads in agreement with the position taken by Jonathan Nossiter in this lengthy documentary: that the globalization of the industry and the power wielded within it by mega-manufacturers, jet-setting consultants and over-powerful taste-makers are leading to a one-size-fits-all mentality that quashes local distinctiveness and tradition, crushing varietal differences in favor of a bland universal uniformity. “Mondovino”makes the point ruefully, quietly revealing those whom it paints as villains while celebrating the hardy souls who resist the changes; but the tone has an air of resignation about it, a half-understood recognition that at best what can be mounted against the trends is a heroic, but probably futile, rear-guard action. It also presents the case in a meandering, almost lackadaisical way, not so much shuttling as stumbling from place to place and then circling back again and again, visiting and revisiting until the viewer might feel a bit of visceral jet-lag.

“Mondovino” is a title with a double meaning. It could imply simply the “world of wine.” But given the argument it presents, it’s clearly also intended to mean “Mondavi wine,” after the California family firm that Nossiter sees spreading its corporate tentacles all over the world and, in virtual collaboration with high-flying production consultant Michel Rolland and star American writer Robert Parker, altering tastes in wine by “taking over” previously independent local operations through canny joint ventures and then shifting production methods to meet the expectations of consumers whose preferences they have manipulated through the engines of popular culture and advertising. The picture concentrates on three areas–France, Italy and Argentina–to make the point, touching on two other important regions, Australia and Chile, only in passing. It offers engaging one-on-ones with smaller proprietors in all three, making near-heroic figures of individuals like a loquacious, pugnacious Burgundy grower whose children aren’t entirely in his mold, a Sicilian whose region produces a local vintage that’s reserved for the use of residents and guests (and who speaks with simple eloquence about how tradition is being erased by globalization), and a far wealthier Italian aristocrat who feels his operation was effectively stolen from him by a stealth Mondavi buyout. Special focus is put on a small area of Languedoc where a Mondavi takeover attempt was foiled by the election of a Communist mayor who obstructed their acquisition of land; the locals are given extensive, positive coverage (although the precise role played in the matter by Gerard Depardieu, whose intervention is mentioned as significant, is never clearly explained and the actor himself never appears). But the film isn’t simply a one-sided tirade. Its approach is more affable than strident, and Nossiter provides abundant screen time to the jovial (though somewhat sinister) Rolland and to the rather defensive Parker, as well as to members of the Mondavi family, who happily detail their accomplishments and dismiss criticism of their methods. Still, there’s little question where the filmmaker’s sympathies lie.

The genially unforced pace and repetitiveness of “Mondovino” is like a stylistic mirror of the sort of small-scaled, traditional, very personal and territorial wine-making the picture endorses in contrast to the Mondavi model, which in cinematic terms would come closer to the ideal of the mass-produced Hollywood blockbuster. But it must be admitted that the film, just like the old-fashioned techniques and traditions that Nossiter obviously cherishes demand persistence from a vintner, requires a good deal of patience from the viewer. Its feints, reversals, digressions and meanderings are surely meant to reflect the myriad, often contradictory attributes of a complex vintage; and it, like such a wine, can only be fully enjoyed by one equipped with a sensitive palate and receptive taste buds. That probably means that only a true wine connoisseur will be able to get out of “Mondovino” all it has to offer; but as a microcosm of the larger dangers of globalization it may appeal to a wider audience–those concerned about the ramifications of the phenomenon in all its manifestations.