FILL THE VOID — A year after her beloved older sister has died in childbirth—a family tragedy which the newborn baby survives—an 18 year old sibling, on the cusp of exploring her own ideas of matrimony, is faced with community and family pressure to “fill the void” by marrying her sister’s widower.
This film brings to mind similar good movies whose protagonists try to balance independence with a willing obedience to the strictures of sect (in this case the Satvars in Israel).
This film is situated somewhere between the intense melodramatics of A PRICE ABOVE RUBIES (a great film starring Renee Zelleger), and THE ARRANGEMENT, about the easy friendship between two young observant women, a Jew and a Muslim, who are beginning teachers, that enables problem solving regarding arranged marriages. This current film does present, in an interesting and fully sympathetic panoply of characters, the urgency of matrimony upon which the survival of this small and strict community depends. It’s a film that’s satisfying enough to fill the void of your own entertainment needs.
THE BLING RING (dir. Sofia Coppola, 2013)
Film noir is that quintessentially American style which emphasizes the stories of hapless individuals and losers who dream big and try to get their piece of the action, often by taking short cuts and falling flat on their faces. Many people who might otherwise be turned off by the content of Sofia Coppola’s latest effort The Bling Ring—a ripped-from-the headlines true story about a group of fashion-obsessed Los Angeles-area high schoolers, scions of various low-tier Hollywood hangers-on, who decide to pursue their version of the American Dream by stealing it from the homes of their favorite celebrities—will probably be interested to know that this nifty little film is a slice of noir in disguise, dressed as it is in Chanel, Alexander McQueen sunglasses, and carrying a Louis Vuitton bag!
The worlds of haute couture fashion, red carpet photo ops, TMZ-style gossip, selfies, social networking, celebrity culture, and shameless bling may, at first, seem like odd stuff for such a trenchant and serious character study. Upon further examination, it is perfectly appropriate given that these very domains increasingly dominate the attention spans of today’s youth. Let’s call this noir for the teen set.
The film begins, in classic noir fashion, in media res and unfolds largely through the testimony and flashbacks of the plaintiffs, who cheerfully bear their souls for the benefit of the very media outlets who initially stoked their dreams of fame.
Awkward and self-conscious Marc (Israel Broussard) arrives at his new high school in Calabanas, California after having been expelled from his last one for excessive absences and he immediately falls in with and falls for the beautiful and ballsy Rebecca (Katie Chang), who shows him the ropes and introduces him to the local party scene, populated by a wealth of jaded rich kids. The two of them form an instant bond over fashion, celebrity-gossip, and pursuit of the easy life. The bitchy and imperious Rebecca plays femme fatale to poor Marc’s hopeless dupe: She seems to have neither fear nor mitigating moral compass, gleefully opening unlocked cars on a wealthy street at night in order to relieve the inhabitants of their wallets and other assorted valuables. For thrills, the two begin monitoring the internet to find when favorite celebrities, such as Paris Hilton and Lindsay Lohan, will be out of town on publicity gigs, breaking into their homes, and making off with a few choice designer trinkets as souvenirs.
Rebecca’s daredevil-like sensibility eventually wins over the initial hesitancy of the infatuated Marc and they are soon joined by a coterie of friends and classmates: Chloe (Claire Julien), Nicki (Emma Watson), and her adopted sister Sam (Taissa Farmiga). Naturally, the crimes begin to escalate as the stakes of the robberies are raised (a gun is introduced into the plot, some goods are fenced, etc.), resulting in this group of junior-grade criminals being branded by the local media with the film’s title-moniker (as ambivalent a statement as their ever was on America’s love affair with glamor and crime!).
This could easily have descended into the purely vacuous material of a made-for-Lifetime movie (and, yes, there is another film with the same title and subject made by the Lifetime Channel in 2011) but for the sympathetic viewpoint of iconoclast Coppola, who has made a career of wringing the humanity out of individuals who can otherwise seem ice-y and remote, particularly girls and young women. Her camera manages to probe the internal worlds of youth without descending into pure voyeurism. This breezy dream of a movie has a very West Coast-like-vibe to it: so laidback and chill is the environment that even real-life celebs like Paris Hilton and Kirsten Dunst (a Coppola regular) casually appear on-screen in cameos playing themselves, in a film which otherwise subtly mocks their outré tabloid lifestyles!
In a world where intelligent films for and about teens are about as rare as a Sasquatch sighting in the Hollywood Hills, Coppola (who adapted Nancy Jo Sales’ Vanity Fair article “The Suspect Wore Louboutins”) deserves high praise for her moody depiction of a group of thrill-seeking youngsters who decide to live on the edge and end up, inevitably, getting in well over their heads. In a lean 90 minutes she manages one of the more cogent recent analyses of our contemporary society’s pathological obsessions with celebrity, money, and fame, and particularly the effects upon young people, as well as the disconnection which teens may feel between reality and our plugged-in, online culture.
The relationship between Marc and Rebecca forms the heart of the film and when things inevitably collapse the bitterness of their falling-out seems to be cut right out of a James M. Cain novel, adding a melancholy note—a next-morning-like-hangover—to their whirlwind adventures. Surprisingly, in a film where sex appeal is a constant preoccupation for the main characters there is little-to-no sex apparent anywhere, as though even this act has been emptied of meaning in the minds of the youngsters, being finally reduced to a mere teasing pose. The ensemble cast of The Bling Ring is uniformly solid, with some necessary comedic relief provided by the clueless reactions of Nicki, Sam, and especially their New Age-y, home-schooling mom Laurie (a deliciously scenery-chewing Leslie Mann) to their new-found infamy and/or fame.
Whereas traditional noir usually ends with the death or apprehension of the misled hero, the contemporary nature of The Bling Ring provides for the possibility of an ironic life-after-crime coda, in the form of today’s tabloid media and reality television hell.
Filmmaker Sofia Coppola, who was once best remembered for her widely-panned performance in her father’s THE GODFATHER: PART III, has steadily built a reputation as one of the most interesting and consistent voices in American cinema. The Bling Ring is her fifth feature, following THE VIRGIN SUICIDES (1999), LOST IN TRANSLATION (2003), MARIE ANTOINETTE (2006), and SOMEWHERE (2010).