Laurel Canyon - A Rua das Tentações

There's a clash of cultures, families and sexual orientations in "Laurel Canyon", and I enjoyed all of it. Sam (Christian Bale) and Alex (Kate Beckinsale) are an uptight, New York couple in complete control of their lives, until they move in with Sam's mother Jane (Frances McDormand) who is a loose hippie (in all senses of the words). Jane also has a slew of rock-and-roll men living in her house, most notably, Ian (Alessandro Nivola), her primary boyfriend with an irresistible accent - but then again Jane and Ian don't really label anything, especially relationships.

As Sam grows increasingly frustrated by his mother's lifestyle, Alex grows increasingly intrigued by it. Sam's need to control everything can get annoying, but Bale plays well off of Beckinsale's quiet energy. The sexual tension between Beckinsale, Nivola and McDormand is electric and is able to keep driving the film forward.

The dialogue is funny enough and the actors are all very good that they make up for the slightly predictable plot. At the Independent Spirit Awards, Frances McDormand was nominated for Best Supporting Actress and Alessandro Nivola for Best Supporting Actor. Well deserved nominations and quite possibly the best performances of their careers. Be prepared for sexual energy in every direction, but I recommend "Laurel Canyon".

People are often disappointed in the ones that love them or the ones that they love. This disappointment can stem from the mistakes made by parents in the upbringing of their children, or perhaps the simple differences that separate family members. It is this frustration that plagues Christian Bale's character, Sam, in the film `Laurel Canyon.' A well-made character study, `Laurel Canyon,' explores the reasons for the distress and resentment that can reside between parents and their children. `Laurel Canyon' is about a man named Sam (Bale) and his fiancé Alex (Kate Bekinsale) who move to California so he can begin his medical residency at a local hospital and she can finish her dissertation. The pair moves in with Sam's mom Jane (Frances McDormand) who is record producer who lives on Laurel Canyon Road in Hollywood. Although she is in her mid 40s, she lives the life of a rock star, smoking pot, drinking, partying, and hanging out with her rock star boyfriend Ian (Alessandro Nivola), who is 16 years younger than she. Sam and Jane are always at odds with each other as he is ultraconservative and Jane is like a teenager. The two must weed out their problems and come to terms with each other about the mistakes that Jane made while bringing up Sam. Although a bit slow at times, `Laurel Canyon' was an interesting film that has its lighthearted and touching moments. It's funny to watch the subtle changes that begin in the characters lives. Alex, although conservative like Sam, is slowly being drawn into the free spirited world of Jane's home, with her parties and rock friends always around. Sam is being tempted by the fruit of another woman named Sara (Natascha McElhone), as their share their sexual desires with each other over private conversations in a car. And even Jane is beginning to recognize her own faults-she had several lovers throughout her life is starting to feel the need to settle on just one, Ian. Every character starts to understand that they are all the extreme end of different spectrums and they must learn to meet somewhere in the middle. The acting in the film was excellent. Every actor was believable and to a certain extent, the audience can feel their pain and happiness. McDormand (`Fargo') and Bale (`Empire of The Sun') steal the show with their amazing abilities to transcend the characters in the script to the dynamic people they present on the screen. Praise must also be given to Bekinsale (`Pearl Harbor') and Nivola (`Jurassic Park 3') for their exceptional performances.

One other superior quality of `Laurel Canyon' was the music, some of which was sung by Nivola. The soundtrack holds a great deal of classic rock songs from groups such as `Steely Dan,' `Leroy' and `Mercury Rev.'

Overall, `Laurel Canyon' was a very good movie that reminds its audience to look beyond the surface of things and to see what really matters in all relationships-love. ***

"Laurel Canyon" isn't a sharp enough barb at the music industry nor is it insightful enough about relationships, but there are individual performances and musical references to make it worthwhile.

Frances McDormand as a Queen Bee, omnisexual music producer is a prime reason to see the film, playing the opposite of her "Almost Famous" Mom. There are hints about her musical ears being passe, as her house has a lot more shelves and shelves of old LPs than the few new CDs piled up, plus the photos of her in studios with past stars. And classic rock seems to always play around her, but the excesses and record company pressures don't seem new and she is bedding a rocker 16 years her junior, basically her son's age. The realistic musical mise en scene includes appearances by musician Lou Barlow and producer Daniel Lanois, among others.

The basic tension is supposed to be her being the fascination of the abomination to her straight-laced son Christian Bale (pretty much playing the same character as in "Metroland") and his fiancee, Kate Beckinsale pretty much playing the Susan Sarandon role from "Rocky Horror Picture Show." There's also some irony about Bale's character being an effective shrink in training, with all his mother issues, and a new twist on mother-in-law issues.

But that is undercut by virtually all being drawn, a la the Rolling Stones' "Spider and the Fly" song which should be on the soundtrack but isn't, by snake-straight-from-the-Garden-of-Eden Alessandro Nivola's sexy leader of a rock band that sure looks and sounds a lot like Goo Goo Dolls or Coldplay (the film's composer is with the band Shudder to Think) and sincerely says all kinds of unbelievable things about commitment and has no problem writing a radio-friendly ballad. (I see that he's married in real life to Emily Mortimer which made me think that he was the inspiration for the cause of her character's horrific physical insecurities in "Lovely and Amazing" but he did give such a very sweet acceptance speech for her at the Independent Spirit Awards. After this movie, he could slither into pop music -- would he be the first from Phillips Exeter and Yale to take that career path?)

I have no idea why Natascha McElhone's husband-temptress is supposed to be Israeli, as her mangled accent is just odd.

There is a neat running visual leit motif about the different symbolic uses of a California swimming pool by different people, from early morning determined laps to late night skinny dipping.

The round-robin apologies (and lack of some) at the end simply make no sense and leave us finally with no catharsis or resolution.

If you like being smacked in the face and having characters who behave in emotionally "traceable" ways (i.e., whose motivations are apparent as soon as they act), you won't like this film but what a joy it is to watch a film unfold in layers, slowly, subtly, un-rushed, in a way that most American films don't allow, too much in a rush to get to the next "plot point" and too obsessed with big dramatic turns. Audiences have to be fed such things, constantly, or they'll lose interest, right? Wrong, I hope. And, Laurel Canyon makes the point better than a debate ever will. This is a remarkable piece of tapestry in muted tones and hues, populated by complicated, confused, uncertain, searching people. And, they change. But, they change by degrees, not by full turns of the wheel. Kate Beckinsale should watch this film over and over, and get out of the Spandex and Leather of the comic book films she's been doing. She and Frances McDormand are as real as any two actors you'll ever see on film. There are a couple of possible story "cop outs" in this film, which we won't mention because they'd spoil the story. But, in the end, they might not be cop-outs at all. They might be preferable to answering all the questions and delivering us from the theatre all neatly reconciled and sent off to coffee and desert. Good for you, Lisa Cholodenko. A brave choice and a fine film.

I saw this film at the Miami International Film Festival and was thoroughly absorbed and entertained. I don't know if it will be as successful as the director's much-lauded "High Art" from several years ago; "Laurel Canyon" is not as serious, though it does explore some of the same themes. All of the performances are pitch-perfect. I suspect audiences will especially enjoy and identify with Kate Beckinsale's character: a studious and sheltered young doctoral student who takes to the hedonistic Los Angeles lifestyle in a big way. Frances McDormand and Christian Bale are also wonderful.

Music is almost another character in this film; it pervades the atmosphere. The music, by such artists as Mercury Rev and Clinic, complements and underscores the dynamics between the characters. It's been awhile since I've seen a movie with such an intoxicating sense of place as well: whether accurate or not, Los Angeles is portrayed as a sybaritic wonderland. The film revels in the sensuality and freedom of this rarefied realm, and it's intriguing to see the effect on the young couple.

When Frances McDormand's music producer character asks Alex her opinion on the record she's producing, Alex declines, saying she doesn't know much about popular music. McDormand responds, "Follow your instincts. It either pulls you in or it doesn't." This movie pulled me in.