Christine

Christine (2016/I) was directed by Antonio Campos. Rebecca Hall plays Christine Chubbuck, a TV reporter in Sarasota, Florida. This is a fictionalized biography of Ms. Chubbuck. If you check Wikipedia, you'll know that much of what we see actually happened.

Christine Chubbuck was a person with depression, or possibly bipolar illness. She was well educated and financially comfortable, but her interpersonal life was in shambles. In the film, her behavior was strange and sometimes bizarre. People keep asking her, "Are you OK?" She always assures them that she's OK, and they believe her. Even if they don't fully believe her, they have their own problems, and they move on to other matters.

Rebecca Hall is an excellent actor. She resembles Christine Chubbuck physically. (That's probably one of the reasons she got the part.) She makes us believe in Christine and her problems, which is no easy task. (People who don't have mental illness find it hard to fake.)

This is a difficult movie to watch, but I felt that the acting was strong, and the message was important. I wish the producers had rolled a statement before the credits saying, "If you, or someone you know, feels and acts like Christine, call this hotline."

We saw the movie at the excellent Little Theatre in Rochester NY. It will work very well on the small screen.

The tragic story of a young, promising reporter struggling with depression.

For anyone reading this and suffering, you are not alone. Many people go through hard times in life and in their own heads. You MUST remember that circumstances and states of mind can change for the better and even quickly. Please don't make a permanent solution to a temporary problem.

Christine (2016)

A small market local television station in Western Florida in the 1970s might be the epitome of tawdry, pathetic America. Or so it appears here, where a rag-tag crew of struggling journalists and talking heads patch together a low budget news show every day. And ratings are going down.

Christine (played by Rebecca Hall) is a second string reporter in this wishful situation. Her life is full of compromises, and her efforts to excel at her work are awkward and sometimes sad. But she has determination, and works hard. When two of her colleagues are chosen over her for promotion, it's just another reminder that life sucks.

First point to make here: don't read anything about the big point of this movie ahead of time. I was lucky to not have a clue what this was all leading up to, and it was a final terrific punch to a slow, empathetic lead up.

By empathetic I mean that the movie makers (writer Craig Shilowich and director Antonia Campos) have shown the situation for what it was. It took a lot of restraint to keep this from turning to parody, or to become critical, or even to be highly dramatic in a kind of glitzy way. There is a steady, almost disappointing feeling to it all. Not a single character seems admirable, and yet every one is perfectly ordinary and nice. Even the incompetence throughout is a normal kind of mediocrity, mixed with sprinkles of hope and humor.

And people are generally good to each other even as they strive to move up (and out of Sarasota). It's a realistic construction of a mise-en-scene that will not sparkle or create intrigue or move you in particular. Until the end.

And that's pretty amazing. The dullness and the acting might strike you as just bad— as if this movie just plain sucks. But it's not the movie, but the subject, that is so uninspiring. Stick it out, if you like it at all. Admire Hall's acting, which is remarkably nuanced.

I have a confession to make. I saw this during the Halloween period and wanted to watch the classic horror movie Christine from 1983. Instead I saw this film and by serendipitous good luck came across a powerful and sad drama that made me cry (to confuse matters this drama is set in the late 70s and is filmed with a filter to make it feel authentic. When a possessed car did not turn up around 20 minutes in, I knew then it was a different film!)

This is a powerful film because it tackles depression and lost hope but does not dwell in the melancholy of the situation. The ending is tragic and it dawned on me that Christine Chubbuck death was probably the provenance for the story in Network which followed 2 years later.

Rebecca Hall is supported by a wealth of talent and the acting is excellent from everyone. It felt so real, like watching a fly on the wall drama.

I am glad I saw this film because it reminded me that people (and I include myself) may look OK on the outside, but they could be screaming in the inside. A lot of dramas avoid mental health and well being because in many quarters it is still considered to be taboo, but more films like this need to me made and watched.

Christine, one of the best films I've seen this year, might appear at first to be about a feminist issue - set in 1974 at a small TV station in Sarasota, Florida, a woman named Christine Lubbock (Rebecca Hall) has to contend with her male co-workers and male boss, and where they get preferential treatment (at least seemingly, ultimately) despite being told by her own boss she's the smartest on there - but it's strongest as a depiction of mental illness. This is the subject that actually makes for more compelling subject matter, though it is harsher to see depicted; I cringe watching this film, it's uncomfortable to watch, and despite/because of this it's a brilliant depiction of a bi-polar person and the interior struggle of her life.

There are two fronts this film is successful. The first is the technical aspect. This looks, feels, acted, sounds like a movie from the period in the 70's (you know, back when American cinema was king as far as getting deeper into character and mood and technique and showing a reality moviegoers hadn't been exposed to much before outside of foreign cinema) with Campos and his DP using zoom lenses and shots that linger maybe just a little too long, and audio that sometimes (no, often times) can put us into the state of mind of the character: when Christine is laser-focused, nothing else can detract from her. When she is wary, she may hear the sounds outside that make her a little distracted (there's one scene between Christine and George, played by Michael C Hall, in a car that made me see/hear this). Not to mention the clothes, the music (so much bad 70's pop on the precipice of disco), and how people talked to one another.

The other thing that makes it authentic is how Christine and everyone talks, The dialog here is all about showing the realism of the TV station, and finding the nuance and what surrounds this woman who is very smart. It could be said she has a touch of Asperger's along with the bi-polar, if one wanted to go into a diagnosing-on-the-couch approach. But that takes away from what Campos and Rebecca Hall accomplish with this character. One may be reminded of Nightcrawler from two years ago, also about an ambitious being in the world of news (also, one should say, with a mental or personality disorder of some kind, and access to a police radio for the latest scoop), only while Gyllenhall in that film was a pure sociopath and no lack of communicating what he thinks/feels/sees, Christine's problems are an inability to come out with something all the time.

To be sure she's surrounded by the kind of news culture that has only multiplied exponentially over the past four decades; "If it bleeds, it leads," Christine's boss says, to which Christine reminds him that's a BS catch-phrase. No matter: the pressure is on to get things that people want to see, that brings ratings, and the same "human interest" stories about locals with Strawberry farms or chicken coops won't cut it. But what drew me in to this film was how potent the point of view was for Christine in this world. It's hinted at (or flat out spoken) that she had some previous anxiety/personality/bi-polar disorder issues back in Boston where she used to work, and now being in Sarasota isn't being much of an improvement. So among this news team, where she tries to find her own path and is up against resistance (some understandable, some not), and with friends (Maria Dizza as Jean is as good a supporting performance as from Michael C Hall, and he's really great here), she makes her own problems but never in a way that makes her unsympathetic.

Christine is closer if anything to Taxi Driver as far as a story of someone on the edge of an existence, and it's all the more painful because of what Christine is able and ready to do, her talents and intuition and in her way mix of innocence and cynicism (though mostly disbelief) at the world around her, which includes her own pot-smoking hippie mother. Hall taps into the ball of contradictions in this character, and I was often on the edge of my seat like this was the most intense thriller in years.

And it's in fact all based on a true story; I had known a couple of the broad strokes of the story, the climax in particular, and I almost wish I hadn't. I won't mention what happens to the sometimes awkward, full articulate but "not easy to approach" (as George says to her at one point) Christine by the end of her story, but even knowing it the filmmakers and Hall draw us in so inexorably to her interior and exterior struggles through such precise and heartbreaking storytelling that I can't shake the feeling this will be with me for a while.