Ihr Macht Mich Verrückt

(l to r) Brühl, Bleibtreu, Fürmann...I think.

I revisited Tom Tykwer's The Princess and the Warrior last week and, in addition to remembering how terrific the soundtrack was, I was again confounded by the identity of German actor Benno Fürmann. Who I often confuse with the German actor Daniel Brühl. Who I often confuse with the German actor Moritz Bleibtreu. Who I often confuse with Benno Fürmann and Daniel Brühl. To make matters more confusing, all three have starred alongside the German actress Franka Potente.

It's a madly frustrating cycle, and since these three actors continue to drive me crazy (macht mich verrückt) with each movie in which they appear, I'm laying this post out primarily as a point of personal reference. Maybe it will help me finally sort out what they've each starred in. It probably won't work, but it might.

Notoriously Wrestling with Che

(otherwise known as my misguided attempt to review three movies at the same time)

"You know very well, who you are;
Don't let 'em hold you down, reach for the stars..."

So goes the well known chorus to "Juicy", the career-making debut single by the late Christopher Wallace, (known to the world as the Notorious B.I.G. or, more endearingly, just "Biggie"). On its own the chorus is a blandly inspiring slogan, but in the context of the song, and more importantly in the context of Biggie's life, it speaks to the stalwart determination of a man to prove his worth even when others weren't questioning it.

If that sounds familiar, it's because we've seen the same story told in three recent movies: Notorious, The Wrestler, and Che, all three of which illustrate the lives of men who just didn't know when to say "when". From my perspective it doesn't really matter that two of them are about real people and one of them is not. As Randy "The Ram" Robinson, Mickey Rourke is essentially playing himself. Conversely, both Christopher Wallace and Che Guevara have been mythologized to the point that they can almost be viewed as fictional characters.

I'm not saying that the three men lived similar lives; on the surface they could hardly be more different. I'm saying that they shared an inner struggle that no one else could understand - one that transcended their wildly different educational, cultural, and familial backgrounds: a primal need for acceptance. Acceptance from world powers (Che), acceptance from peers (Notorious), and acceptance from themselves (The Wrestler). Driven almost mad in seeking this acceptance and never finding themselves satisfied, all three of their lives traversed a path that, in hindsight, was all too predictable.

Tragically and perhaps not surprisingly, each of these men had extremely difficult relationships with their families (shown above). Not only did all three have failed marriages, but they also had children from whom they were estranged, if they knew them at all. I admit knowing little about the inner workings of each of their families, but it's apparent to me that Wallace, Robinson, and Guevara were simply too caught up in their future to realize what they were leaving in the past, family ties included.

You can hardly blame them, in one way, since at the height of each of their popularity they were admired by hundreds, thousands, or millions (depending on the character) of people. Like most iconic figures, their time in the limelight was intense yet fleeting, with much of their influence being realized after their careers peaked.

So how do the movies measure up when it comes to drawing us into the lives of these men? A brief look at each:

- Che: Directed by Steven Soderbergh (Ocean's Thirteen), it's a two-part epic that surprisingly keeps you engaged for a full four and a half hours, mostly due to a magnetic performance by Benicio del Toro. It's the same type of work he continues to do (most recently in Things We Lost in the Fire) with little fanfare and even less recognition from Hollywood award-givers. For what must have been one of the most challenging roles of his career, it's a shame so few people have taken the time to appreciate it.

Whether Che is a humanizing biopic or a historical epic isn't as obvious as it may seem on first viewing, but either way it's an engaging, informative film that, in my opinion, was long overdue. I expect this will be looked back on as a major achievement by Soderbergh, but in the meantime it's only an honorable mention as one of the best films of 2008.

Grade: A-

- Notorious: What's apparent throughout this straightforward retelling of Biggie's meteoric rise is that it's meant to shine a blindingly positive light on the rapper's life and career. If you weren't hip to the production details before seeing it, it will make a lot of sense in the end credits when you see Voletta Wallace (Biggie's mother) and Sean Combs listed as executive producers. I can actually respect Combs for allowing Derek Luke (Miracle at St. Anna) to play him as a young, cocky producer with an immediately recognizable goofy dance, but I'm not sure I'm OK with the movie covering Biggie's entire career and essentially glossing over all the interesting details. It plays like an adaptation of an article from The Source magazine - luxurious living and backstage belligerence, but little analysis of what was actually motivating the artist.

Despite Jamal Woolard's eye-popping turn as the title figure, when it comes down to it Notorious simply falls short of its potential, which of course wasn't the case with the actual man. If nothing else he deserves a treatment that attempts to illustrate his impressive inner drive. For comparison, the Oscar-nominated documentary Tupac: Resurrection wasn't perfect, but at the very least it leaves you much more interested in its subject. Notorious just leaves you singing "Juicy" for a few days - in which case you could just listen to the album instead.

Grade: B-

- The Wrestler: Certainly one of the most surprising movies of 2008 (and one that clocked in at #7 on my year-end list), The Wrestler continues the recent trend of not actually being about what you think it's about - Blindsight, Surfwise, and Trouble the Water serving as other recent examples. Darren Aronofsky seems to get a kick out of giving his films ambiguous titles (The Fighter is due out this year or next), which piques your interest without raising your expectations too high. He really has to be given credit for making films that are different enough to defy easy categorization, yet still exist within some kind of similar genre. You never know what you're going to get, and I find that refreshing.

From this point on, the same should really be said for Mickey Rourke as well. Although he's admitted that he felt he'd turned in a strong performance immediately after wrapping on the set, I'm not sure how obvious it might have been in the moment that he'd dialed in one of the best acting jobs of the decade. People will say it's easy because his career path has been so similar to his character's, but I'm not sure how quickly I buy that sentiment. Try acting as yourself at another age in your life, maybe 10 years ago - or 10 years from now, to make things even more difficult. There's a lot of nuance to that kind of performance, and Rourke must have found it challenging to separate himself completely from the character, allowing "The Ram" to exist as a wholly unique man. His success in doing so accounts for as much of the excellence of the overall film as Aronofsky's direction or Robert Siegel's screenplay.

Grade: A

So I guess I didn't conclusively answer the question I posed prior to those brief synopses, but in short I think i could say this: Che and Notorious do well in telling the story of two men, but don't necessarily offer enough under-the-surface insights as to what was going on in their heads. The Wrestler has the advantage of covering a much shorter period of its character's life, and it doesn't waste a minute in portraying "The Ram" as a completely realistic guy who could be struggling along in any city in America.

For that reason - its ability to provide the most depth and authenticity to its central character - I have to consider The Wrestler as the best of the bunch.

Underrated MOTM: The Princess and the Warrior (2001)

Each month (starting this month), I'm going to select one movie from the backlogs that I don't feel ever received its due credit, and I'm going to call it the Underrated Movie of the Month (MOTM). Feel free to comment if you've seen them and have anything to share; these won't necessarily be classics or even considered good by most people, but I remember them fondly. Also, I probably won't have actually seen the movies since they were in theaters, so I'm mostly going on memory and a little research to remember why I thought they were so good.

The first Underrated MOTM is Der Krieger und die Kaiserin (known as The Princess and the Warrior in the U.S.), starring Franka Potente and Benno Fuermann, and directed by Tom Tykwer. It came out in the summer of 2001 and was quickly forgotten, mostly because people expected it to be another Lola Rennt (Run Lola Run), which came out in 1998 and made stars of both Potente and Tykwer (who were actually dating for years until they broke up in 2002 - I always find it strange how these film industry relationships work). When it was realized that Princess was in fact not Run Lola Run 2, it was immediately dismissed as plodding, slow, dragging, too long, boring, etc.

Do you remember Run Lola Run? It's like a Nike commercial/music video on crack set to a Prodigy song on repeat. Don't get me wrong, I absolutely loved it - but how do you follow that up? Tykwer made an excellent film in Princess, but it was "laborious" and "languorous" just because you didn't have a seizure while watching it. I just read one critic's piece about Princess on RT - "Crawl, Lola, Crawl." Really? Guess what, it wasn't meant to be a sequel!

OK, so you understand why The Princess and the Warrior wasn't better received. Well it's too bad, because I think it's an intense, suspenseful, gripping movie. VERY briefly: Sissi (Potente) plays a psychiatric ward nurse who gets mixed up in the life of Bodo (Fuermann), a distraught, aimless widower and would-be bank robber. Tywker heavily uses fate and coincidence to bring the two together in very dramatic ways, yet you never really see what's coming. If you're willing, you might even explore the deeper themes of loss, regret, love and hope. But if you really want to go there, you might as well watch Driving Miss Daisy. See The Princess and the Warrior for a taut, surreal story with interesting characters. If you have the attention span of an 8th grader, you should be just fine. Otherwise crack a Red Bull or eight and watch Run Lola Run again.

Tykwer has of course continued writing and directing since Princess, most recently with last year's Perfume: The Story of a Murderer. I haven't seen anything since Princess, but I am looking forward to his next film, The International, due out next year and starring Clive Owen as an Interpol agent.

By the way, bet you didn't know Tykwer is pronounced "tick-ver."