Somewhere - Verloren in Hollywood

In a nearby safari park the wardens have taken steps to alleviate depression amongst the gorillas, they hide their food from them or leave it in hard to get places; this saves the gorillas having to sit around, eat, copulate and vegetate. Hollywood A-lister Johnny has this gorilla depression, everything he could possibly want comes at the end of a telephone call. Even the most difficult banana of all, sex, is available by scratching the back of his neck and signalling his assent, or at the end of another phone call if he's feeling especially lazy (which is often).

I once heard it said that rich people live years in the span of a single day, and Johnny certainly does have that flow of experiences coming at him, but the problem for him is that there's no feeling (let's all take a moment to have a boohoo for Johnny). He can barely stifle yawns when his eleven-year-old daughter Cleo, on a custody visit, shows him how she has become a brilliant ice skater and cooks him perfect eggs Benedict for breakfast. Life's too easy and it's suffocating him. There is a suspicion that he's a fluke, that his surfer-boy looks and beatific smile have carried him to the top, but I think there must have been some drive once, as evidenced by a faltering but very pretty rendition of Bach's Goldberg Variation #1.

Ultimately, Johnny Marco has the kind of problems that everyone else wants, and so it's very difficult to feel for him. The movie doesn't have any contrast either, none of the harsh realities of normal Californian workaday lives makes it to the screen. After the decadence of Marie Antoinette I kind of wondered whether Sofia was aware of normality, or whether she just grew up in Arcadia with the other film kids who turn up in the special thanks section at the end of the credits. Johnny Marco is probably the most complacent human alive, but the film doesn't exactly scream that, perhaps because Sofia Coppola doesn't know it. Another flaw is that Coppola's alter-ego Cleo has a decidedly airbrushed personality.

The detail was a big highlight of this film, time seems to have been spent getting the authenticity of the trappings of wealth. Johnny has a bottle of Château Pétrus on the bedside table (retails from $1,000 to $30,000 depending on vintage), chambréed to vinegar, and propped up on a wall is a lithograph by that master of Californian alienation, Ed Ruscha ("Cold beer, beautiful women", $10,000 to a cool million depending on whether it's a limited edition lithograph or the original painting). Other nice details give you insight into character, including a pill bottle of Propecia in his bathroom (prevents male pattern balding), which says he's worried about the onset of middle age, and the player name he has on his games console, 20thCenturyBoy, a sign that he's become his persona.

The cinematography is the second plus, though it's not exactly adventurous the filmmakers were prepared to let the action drift out of shot when they felt like it.

I think Somewhere is a difficult film to watch twice because there's very little connection for a non-wealthy person, the film's torpor has a complacent lull to it which is a little hard to bear. Thematically, I'm not convinced that I've seen mature filmmaking from Sofia Coppola yet.

Sofia Coppola's personal cinema, in addition to being valuable and admirable, is also fascinating and endearing. I like his viewpoint on cinema. She is the daughter of the godfather of world cinema, Francis Ford Coppola, but she has not been under her father's shadow and stands in an area of cinema that her father was not in. Sofia's minimalist and personal cinema with its themes, concerns and worldview has made for her a special style in her films. The "somewhere", she made in 2010 has a specific form in structure and content. Relatively lengthful shots, fixed camera where the subject is moving in the frame and little dialogue are some of my favorite cinematographic features, which can be seen in abundance in Sofia Coppola's works. The beginning of the film in a fixed frame, where a black Ferrari car is constantly going back and forth, promises a different, fascinating and deep film, and in the final shot, which reminds me of a scene from my own short film (Saz and Khurshid). Johnny, played by Stephen Dorff, leaves the Ferrari on the side of the road and goes alone on the horizon. This is an amazing ending. The film only moves the camera when it is necessary and in line with the structure and content of the film, and this shows the awareness of the director. The film presents a paradox in the world of cinema. Johnny is a depressed, aimless, unmotivated and failed person from the inside and the reality of his life, while he is a prominent actor in the world of cinema and is glamorous.

'Somewhere' anatomizes the mindset of a man who has everything - except purpose. Johnny Marco is a thriving Hollywood actor but his soul is adrift on the sea of ennui which afflicts those to whom life denies nothing – he lacks meaningful relationships and doesn't know what to do with himself between projects.

In classic European art-house style Coppola evokes Marco's inner desolation through the extensive use of eccentrically framed, lingering, static, wide shots in which the focus of attention listlessly enters and leaves frame. And she does this relentlessly throughout the movie to the point that, like Marco, you just want to give up. Yes the guy is a bit defocused, a bit haunted and generally of a bit of a mid life plateau and yes these attributes are successfully evoked by the directorial style, but the result is so anodyne that you just want to watch a film about a guy with some real reasons to be miserable.

Naturally you're hoping he'll rediscover his mojo through his relationship with his daughter and work out what to do with his life but given the film's obvious anti-Hollywood credentials, you feel your optimism for any kind of resolution seeping away just like Johnny Marco's.

I imagine that if you are the daughter of a like-able, pampered but lost Marco figure, drowning in existential anxiety, then this character study is pretty poignant but it's really no more than a letter from Coppola to her father – and, of course, a gift to the type of film-goer for whom every aspect of the human condition, including boredom - is interesting.

Sometimes less is more; sometimes it's just less.

If you have seen Sofia Coppola's previous trilogy and loved it, it would be dishonest to say that "Somewhere" brings about that same emotional involvement: frankly speaking, me and everyone in the theater (few people, indeed, considering it had shortly been awarded with Leone d'oro in Venice) showed perplexed faces and some kind of disappointment. Given as a premise that we, as viewers, are no longer used to slowness, silence, and pauses, it is incontrovertible that even the most patient and quiet spectator would get a little annoyed and bored by long, extremely quiet scenes, where nothing happens, nothing is said, and life simply succumb to the wearing-out power of wasted, useless, unproductive time. Jonnie Marco is hard-living world-famous actor wasting his numb life in a hotel in Los Angeles, drinking, smoking, having private sexy shows in his room, driving his Ferrari, which even once breaks down leaving him on the road. When his 11-year old daughter appears, something is shaken inside his fragile and inconsistent world, he at least starts feelings something. Not that he changes so much, his relation with Cleo remains in a way made up of short exchanges of words, very rare demonstrations of love, but it's a positive relation, where each one is able to accept the other for what he/she is (and shouldn't affection work like this?). The merit of Sofia Coppola (this is the first movie directed being a mother herself) is to depict this relation in a realistic way, the father won't undergo an extraordinary change, as it would be improbable and unrealistic, he just starts embracing the idea that there can be a meaning, somewhere. As the almost intolerable slowness, well, it is the best way to render the complete void and nonsense in the protagonist's life, where everything is a bore, and time a burden, we no doubt feel the oppression of his unprofitable passing of time, of his lack of real acquaintances, of sane company, of real life, mainly in the first part of the movie. When Cleo appears, time turns into profitable and meaningful, and so he can spend hours on the edge of a swimming pool, without speaking, but her daughter laying beside him makes a substantial difference of quality. The always delicate touch, typical of Sofia Coppola' style, is to be appreciated also here, although certainly the director, now become a mother, shows a more mature and more lucid, in a way more simple, consciousness about life, which seems here more clear, definite and evident than in her previous productions, things are black or white, you cannot hide behind too many complications, when you have born a child, and when you realize that she is the only precious thing you have done in your life, you know what kind of man you have to be.

...makes "Somewhere" an utterly forgettable, self-indulgent (in the worst sense of the term) waste of celluloid. I gotta say, first of all, I have immense respect and admiration for Sofia Coppola. The girl who showed the world she couldn't act in "The Godfather III" had a decade to find herself and prove everybody she was a sensitive, talented writer-director with 1999's "The Virgin Suicides". "Lost In Translation" (2003), which gave her the Oscar for best original screenplay (and a nomination for best director - the third female and first American woman to ever be nominated in that category), is my #3 favourite film of all time. I can watch it over and over and every frame of it can make me appreciate the beauty of life, film, human connections, and music, more. Sounds corny, doesn't it? Well, but it's true.

Sofia's follow-up to LiT, 2006's ostracized "Marie Antoinette", was, yes, sort of shallow, but I have to admit that eye candy and great music alone make it a delicious piece of cake for me. The same can't be said about her latest, "Somewhere", which won the Golden Lion for Best Film at Venice 2010 (a blasphemy, specially considering titles like "Black Swan" and "Balada Triste" were in competition). It follows a bored, kind of good-looking, shallow and womanizing movie star, Johnny Marco (Stephen Dorff) who (surprise) goes through an emotional transformation after spending some time with his 11 year-old daughter (product of a failed marriage), Cleo (Elle Fanning, a more natural actress than her older sister Dakota). We already knew that Sofia is fascinated by the ennui of the rich; but what made Bob Harris and Charlotte such wonderful characters in "Lost In Translation" was their humanity (and the chemistry between their fine performers, Bill Murray and Scarlett Johansson). Johnny Marco is not 1/5 as interesting as those two. Not every main character needs to be likable for a film to work for me, at all - I love character studies, no matter how conflicted ("The Piano Teacher") or pleasant ("Happy-Go-Lucky") the protagonist might be.

However, Marco is not someone interesting enough to spend 97 minutes with, and although Cleo seems to be a nice enough girl, she can't carry a whole film on her shoulders. They don't even share the historical curiosity of a figure like Marie Antoinette and her colorful ways. Marco is just shallow. Filthy rich. Bored. And boring. It's hard to feel bad for him, or even compelled to follow what he might become (the open ending, in that sense, is not a quality, since the movie ends when it could possibly become somewhat interesting). The soundtrack was nice enough (not memorable like those of her previous work), the cinematography is pretty enough (by Harris Savides, and not Lance Acord, this time around), but this is no 'Lost in Translation Redux', or even a film I would want to see again. It's a shame, but I am still curious to see what you do next, Sofia. I know you have it in you to amaze us! Verdict: 3/10.

P.S.: Quentin Tarantino, Sofia's ex-boyfriend who awarded "Somewhere" the Golden Lion as president of the jury at Venice last September, later wouldn't even name it one of his top 20 movies of the year (yet, he lists abominations such as "Jackass 3D", "Knight and Day"...). That can prove one of two things: 2010 was a less than great year for movies, or he finally realized the mistake he made. Well, perhaps both?