Will Boston Be Hollywood’s Next New York?

Thanks to the recent success of films like The Town, The Social Network and The Fighter it seems that Boston has become the city of choice for Hollywood these days. Although some are claiming that Boston has become the new New York of cinema, I do not think Boston has reached that level yet. If anything Boston seems to be turning into the east equivalent of the “dirty south”.

While corruption and crime have been prevalent in cinematic takes on Boston for years, there is a new wave of “Irish trailer trash” that has become a prominent fixture in many of the recent films. These are the characters that love their alcohol, frequently use drugs and take pride in their lack of education. In the past, these traits would stereotypically be associated with cinematic characters from the southern states. What was once considered a sign of southern backwardness has now become a badge of honour for Boston.

The fascinating thing about the recent emergence of Boston in modern day cinema is the portrayal of Boston women. Boston is becoming Hollywood’s hot bed for skanky and/or corrupt women. Whether it is the deadbeat mom Helen McCready (Amy Ryan) in Gone Baby Gone; the cokehead girlfriend Krista Coughlin (Blake Lively) in The Town; the over-barring mother of nine Alice Ward in The Fighter’s Alice Ward (Melissa Leo); or the Lady MacBeth-like Annabeth Marcus (Laura Linney) in Mystic River, the women of Boston are nothing like the ones you would find in movies set in New York or Los Angeles.

Speaking of New York and Los Angeles, one of the main reasons Boston has not reached their level in cinematic dominance yet is due to lack of romanticism. This is crucial when you look at how these cities are portrayed in films. Sure there are the grimy streets of New York featured in Martin Scorsese’s Mean Streets and Taxi Driver; not to mention the urban decay of the Los Angeles’ hoods featured in Boyz N The Hood and Colors. Yet, there are countless other films that romanticize both of these cities. Can anyone picture New York without thinking of Woody Allen’s Manhattan or Annie Hall? Can you think of LA without the glitz and glamour featured in everything from Sunset Boulevard to Mulholland Dr.?

Besides the corruption, and the obsession with sports, there is nothing in recent films that would make you drop everything and move to Boston. However, films like The Firm and The Departed have provided us glimpses of how the rich live in Boston. If we are to believe Spielberg’s War of the Worlds, the affluent ones in Boston can even survive an alien invasion without even a scratch on their car. Does this make Boston a must on your bucket list? While I am not asking for more Good Will Hunting type of films where the blue collar guy gets the girl, I would like to see other facets to Boston on screen besides the caricatures that Hollywood is portraying more and more frequently. I think if Boston is to be relevant in film as places like New York or L.A. we need to see the diversity that the city has to offer.

In Tyler We Trust?

In Tyler We Trust?

Over the weekend, after watching I Can Do Bad All by Myself, my sister-in-law remarked that “Tyler Perry is always one step away from making a really good movie” to which I countered that it is more like two or three steps…and that is being generous. Still I could see what she was trying to get at. Every one of his films has the potential to be great, yet Perry’s knack for over stating the obvious does him in every single time. Truth be told, I have yet to see a Tyler Perry directed movie that I have liked. Despite this I think Hollywood needs more directors like Perry.

Now you may be wondering why would I want more Tyler Perry’s in the film industry when I cannot stand the one we current have? This is a question I have struggled with myself on several occasions. Unfortunately the answer is not that simple. On one hand I am constantly annoyed by the same formula that occurs in the majority of his films. There is always a woman who is in relationship with a man that the entire world can see is bad. How bad is he? Well Perry usually makes him an adulterer, wife beater, rapist, drunk, or some combination of these traits. The woman is often the victim until she realizes her self-worth and fights back. Usually this realization is achieved through the aide of a good looking blue collar guy who the woman cannot stand at first but eventually falls in love with. Also, let’s not forget there is always the influence of a few spiritual gurus.

As overdone as this formula is, Tyler Perry’s films consistently make a huge profit at the box-office. Perry continues to taps into a market that Hollywood routinely, and foolishly, neglects…the African-American female demographic. Tyler Perry is one of the few, I would even argue, the only, commercial male director working today who places African-American women at the forefront of his film. If you look at the current crop of actors and actresses headlining movies nowadays, how many lead black actresses can you name besides Halle Berry? Angela Bassett? She has not headlined a major film in years. How about Kerry Washington? Zoe Saldana? Taraji P. Henson? Thandie Newton? All of whom are talented actresses but can you name a major non-animated film that they were the lead in? It is far easier to list off the numerous films that featured the likes of Charlize Theron, Angelina Jolie, Jennifer Aniston, and even newcomers like Carey Mulligan in the lead. Most of, if not all of, there films play to large audiences worldwide.

African-American actresses, heck actresses in general, have gotten the short end of the stick for years in the film industry. This is why we need more guys like Tyler Perry in Hollywood. Directors who are interested in telling stories that not only feature African-American actresses in prominent roles; but are accessible to all demographics. Preferably ones who are far better filmmakers than Perry, but you get the point. This is by no means a plea for affirmative action in film, it is merely an observation as to why Tyler Perry is able to turn out films faster than Woody Allen these days.

When watching a Tyler Perry film, I am constantly reminded about how the first Sex and the City movie was underestimated by the Hollywood pundits. Once that film made a huge splash at the box-office, Hollywood was more than happy to fast track films and television shows that appealed to the modern single woman. The same can be said for the whole Twilight phenomenon. Now studios are itching to find the next big thing that teenage girls will go crazy for. Yet the large number of women who are pouring billions into Tyler Perry’s pockets are still being underserved by Hollywood. Why is this? Love him or hate him, Tyler Perry is the only one who has tapped into a lucrative market that few directors have even considered to touch.

It Must Be True If Everyone Is Saying It.

Everyone Says I Love You

While my wife is a big fan of theatre musicals, I have always been more drawn to musicals on the big screen. Sure I have seen a few theatrical productions that I have really enjoyed (e.g. Avenue Q, Evil Dead: The Musical, Jersey Boys, Miss Saigon), but none of them seem to have a lasting impression on me the way films do. When Andrew invited me to take part in his blog-a-thon on musicals, the first film that immediately popped into my mind was Moulin Rouge. Mainly because that was the last musical to truly dazzle me. Sure I enjoyed films like Chicago, Dreamgirls, Hairspray, etc. but none of them really spoke to me the way Baz Luhrmann’s genre bending film did. Still, if am pressed to pick my all-time favourite musical, Moulin Rouge would come second behind Woody Allen’s Everyone Says I Love You.

Compared to many modern day musical, Everyone Says I Love may seem like a bland choice by some. It often gets overshadowed by some of the flashier, and star studded, productions of late. Yet is the simplicity, and overall joy it induces, which makes Allen’s film standout. In preparation for this musical related post I watched the film Nine, the musical not the animated movie, for the very first time last week. I had been meaning to see it for some time now but never got around to it. I figured the blog-a-thon was a good reason as any to finally watch the much hyped film. Despite the movie’s stellar casting, I was amazed by how much I detested Nine.

The problem I had with Nine is that the film is so concerned with given each star their moment in the sun, that the story takes a backseat to the musical numbers. In Everyone Says I Love You, the story is always at the forefront and the musical moments merely compliment the tale, not the other way around. Even when juggling a large cast, which include the likes of Edward Norten, Drew Barrymore, Julia Roberts, Tim Roth, Natalie Portman, Goldie Hawn, Billy Crudup, Lukas Haas, Natasha Lyonne, and Alan Alda, Woody Allen always ensures that you get a true understanding of how everyone is important to the overall story. At no point does the flow of the picture come to a grinding halt just so Julia or Goldie can have their moment.

Another thing I really like about this film is that Allen finds a nice compromise between the 1930’s musicals, which inspired the film, and his own self-deprecating style. Allen will have a lavish number like “My Baby Just Cares For Me” with full backup dancers and yet the lead singer, in this case Edward Norton, still sings and dances like the “average Joe” would in that situation. This is not to say Norton has a bad voice, but his tone is not as polished as you would expect from this type of musicals. Woody Allen also contains a lot of his musical numbers in the same locations the songs start in. There are no quick cuts, no costume/location changes, no characters singing on stages, etc. Allen tries to bring as much realism as possible to confines of the 1930’s musical genre.

Lastly, and most importantly, Everyone Says I Love You is that perfect romantic pick me up that we all need from time to time. The themes of looking for love, being in love, and being in relationships with the wrong people, are common in almost every single Woody Allen film. Yet there is a more optimistic, and whimsical, feel in this particular film than is more prominent than his other works. Everyone from the upper east side elite to the two-bit gangster is struck by cupid’s arrow. You swoon when Alan Alda serenades Goldie Hawn on her birthday, yet you also are hoping that Hawn and Allen rekindle that spark they once had when they were together at another point in the film. Some may complain that Everyone Says I Love You wraps up a little too neat, but frankly I would not have it any other way.

Top 5 Films To Avoid Before Saying "I Do"

As I am getting married this coming weekend, the rest of this week’s posts will have a wedding related theme.  Today I will look at some films that you should not watch on the eve of your wedding.


Top 5 Films To Avoid Before Saying "I Do":

Runaway Bride – I am still waiting for a runaway groom film to be made, although something tells me it will not have the same appeal with the ladies like this film did. Regardless, there is nothing more embarrassing than being ditched at the altar last minute.

The War of the Roses – Sure it has got a happy ending of sorts, not to mention that it is pretty funny as well, but you should probably wait until after the Honeymoon to revisit The Roses’ bitter divorce battle.

Husbands and Wives – Really, I could have chosen any Woody Allen film as many of his works deal with the demise of relationships and finding new love. Personally I really liked this film but, in the context of this list, realizing that you have married the wrong person may not be the best thing to watch before you say “I do.”

Little Children – Another film that I absolutely love. Unfortunately the film's view on suburban life, thought spot on at times, hardly gets you in the mood to spend a lifetime with someone. On any other day this film would be a must see though.

Revolutionary Road – Is it wrong that I totally see where Leo’s character is coming from in the film? I think that is a debate for another day though… Similar to Little Children, which also features Kate Winslet, this film details the horrors of suburban life and marriage. Yet unlike Little Children, where the various couples are miserable from the beginning, Revolutionary Road documents the couple’s journey from happiness to misery. Plus the repercussions in Revolutionary Road are far more damaging.