Sideways: Entre Umas e Outras

... but aren't we all, regardless of our wine variety and tastes. Middle aged men make merry and melancholy in a film that makes you smile and yearn to go wine tasting in California.

'Sideways' might be this year's acid test of whether you like good movies or not. It will be exciting over the next few weeks to see if the justifiably positive buzz surrounding this film and a good audience turnout (in San Francisco it was well attended, at least) will entice viewers. Without a teen audience it cannot be real blockbuster, but 'My Big Fat Greek Wedding' drew out the 50-somethings and it wasn't even a very good movie!

The premise: two friends (Paul Giamatti as Miles, Thomas Haden Church as Jack) set off on a road-trip before Jack's wedding a week hence. Miles, a teacher with aspirations of publishing a novel and Jack, a veteran actor (but not exactly prospering) are resolved – well, Jack is anyway – to have some fun as they sample wine and play golf while heading up the California coast.

What ensues is that Jack, committed at a bachelor-party level ( Miles is still reeling from his divorce two years previous) has to prod his less-than-enthusiastic accomplice to lighten up. Meeting a likely pair of attractive female matches, things get more complex. What comes of Jack's misadventures and Miles' reluctant accompaniment is not only borderline hysterical but painfully closer to our own experience than might be comfortable.

Director Alexander Payne (he of the fabulous'Election') has really assembled all the necessities here. A great cast working with solid material rarely misses; here is proof. Paul Giamatti – showing us his everyman acting chops in last year's 'American Splendor', is our James Gandolfino for 2004. Thomas Haden Church (his resume sports a long string of small screen and TV parts) is such a scene stealer that it will be a film-crime if we don't see him in some lead role in the near future.

The girls. Virginia Madsen (Miles' love interest Maya) and Sandra Oh (as Jack's fling thing Stephanie) turn in striking performances, with Ms. Oh showing us charming and vicious in equal measure; but in particular she epitomizes the date every man always wanted to have, showing an intangible sexuality not easily conveyed in film.

In an interview (http://www.darkhorizons.com/news04/sideways3.php) with Director Alexander Payne we hear an interesting comment about how typical 'art-house' fare might shake the industry:

'I want Sideways which has no movie stars in it, and a movie for which I had final cut, to make money, not just for my own career but for other film makers so that film makers and studios can point, if I didn't have stars to make money, Sideways didn't have a gun or a chase even though that made money, we have to be changing our cinema, little by little and have more human films. But the only way it's going to happen is there are examples they can point to, where they made money. It was just like that in the late 60's and 70's. Look, Easy Rider made money, The Graduate made money, Midnight Cowboy made money, and we should make more movies like those. That's what we need.'

It is indeed.

Rating: Four Stars.

SIDEWAYS (2004) **** Paul Giamatti, Thomas Haden Church, Virginia Madsen, Sandra Oh. (DIR: Alexander Payne)

A truly vintage comedy. Paul Giamatti is one of our finest character actors who seems to be neck-and-neck with William H. Macy on cornering the market of portraying losers as a cottage industry and in the latest endeavor of hapless misanthropes he may have found Oscar gold.

Giamatti stars as Miles Raymond, a miserable mope of a man who realizes he is never going to amount to anything especially given the fact that he is his own worst enemy in his highly critical outlook on life particularly on two things he holds dear: his struggling attempts to become a writer of notice and his taste in wine. The latter leads him to a certain road trip to salvation when he embarks upon a few days of r&r away from his stagnant day job as a middle school English teacher with his best friend and former college roomie Jack (Church in easily the career defining role of his life since his hey day on the TV sitcom 'Wings') whose impending nuptials is Miles' wedding gift as the best man. Jack, a long-in-the tooth second-rate soap actor whose 15 minutes are at a close 14:59 is adamant about getting laid for one last time before his commitment to a younger woman who clearly deserves better (and Jack shrewdly knows this).

As the duo drive through the sun-dappled wine country of Northern California in a road trip not unlike two virginal, horny teens looking to pop their respective cherries, they come across two unlikely conquests. One is the shapely and surprisingly-down-to-earth waitress Maya (Madsen in a career comeback of epic proportions shines through the Giamatti gloom) who strikes a fancy to the depressed Miles while Jack has his sights on the sexy wine pourer Stephanie (the sublimely, reassuringly funny Oh, and real – life wife to director Payne) who also is charmed by the blithely feckless Jack. What unfolds is a sweet yet too-good-to-be true few days of bliss and unbridled emotional rescue for the foursome as they take to one another like ducks to water although Miles' hesitancy is deeply reasoned since he is still licking the open wounds of his two-year old divorce.

Payne, one of my favorite filmmakers, doesn't disappoint as he dollops evenly the tragic-comic proceedings with his frequent long-time collaborator Jim Taylor in adapting an unpublished novel by Rex Pickett that has many layers to it and doesn't betray its four intriguing and ultimately human characters with all their flaws and neuroses on full display. Each actor shines with a few moments of soliloquies and dialogue that ring true that will have you laughing til you cry and vice versa (and that my friend is no easy trick)!

The four actors give supremely wonderfully acted turns and all are Oscar worthy as well as the screenplay which mixes misery with hope and some truly funny moments including an anger management golf sequence that feels like an outtake from 'Caddyshack' and Giamatti's drunken phone call to his ex is on par with Jon Favreau's car-accident-in-slow-motion answering machine mishap in 'Swingers' – one for the archives. Church makes his borderline jerk a quasi-pathetic lothario who finally sees the forest for the trees in a surprisingly moving moment of realization in a teary confessional; Oh unleashes the old chestnut of a woman's scorn with no-holds-barred and Madsen is a true welcome back from a seemingly endless string of nothing vehicles into this warm and welcome turn as comforting as a blanket on a wintry night in front of a cozy fire.

While it is so easy to resort to the wine as metaphor – as the film amply does with smart, sharp and pungent dialogue – the film is a full-bodied, never precocious vintage that needs to be savored in a desirable bouquet of cinematic finesse.

A woman's take on this is probably not the same as a man's. Initially I was put off by Charles Hayden's Church's character crudeness and Giamatti's character's repulsiveness but that changed was I was able to look below the surface. By the end of the movie, I felt very sorry for Church as he was not only dumb and shallow, he was actually so empty that whatever female was before him became a mirror of his need to connect with anything that felt like caring. Church did a fabulous job and was incredibly believable as a has-been wannabe, desperate to hold on to his dream of the kind of good life that is bought by charm and good looks. He is just on the edge or realizing his time is running out and that is a whole lot for this character to absorb as he has never given much to the concept of "thought."

Giammeti is a pitiful, self-absorbed, destructive, depressed alcoholic whose in possession of two "things." He knows a great deal about wine and he has written a book. Nothing else informs him. Yet his performance is so nuanced that we are able to fill in his depth of character and decency primarily through his huge, limpid eyes. What a performance. He should have been nominated for an academy award. This is a role that comes along once-in-a-lifetime for this type of character actor, like Liza in Cabaret.

The women are really nothing more than backdrops or props for the men to expose themselves. Madsen is lovely but you do wonder what on earth she really sees in this man. While he may be redeemable, he is really pretty much a self-absorbed jerk. It is most interesting that this film has been released at the same time as Closer, as they are similar in their exploration of self-absorption. Though Closer explores how destructive its characters are to each other, in the end, Closer is not as intimate and seems more artificial than the sweetly revealing Sideways.

I had known of Sideways for a long time now. Being the huge film fan that I am, I remember always seeing it get mentioned in many message boards, or websites, or critics' best-of-the-decade lists. It wasn't until now that I saw it, and the reason is because I recently saw Payne's new film The Descendants and I fell in love with it. It wasn't just his simple writing, but his direction, the feel that he gave it. Sideways was another gem, and an even better one.

This could be called a dramedy in many ways, a comedy/drama. There are many films these days getting released that could be labeled in those two genres, and yet Sideways makes it look easier than The Descendants even. What we have here is a brilliant script all around, fully fleshing out these characters. And the investment I had with Giamatti... enormous. I was on this ride with him, I felt his pain, his anger, his awkwardness when confronted with aggravating or tense situations. I found myself telling him things on the screen, and even staying at the edge of my seat in a funny situation he is put in by his friend near the end. Whereas The Descendants lived on it's script through a lot of quiet moments, Sideways blends in simple, subtle moments with really incredible dialogue. The dialogue between the two was the main difference, and yet Sideways is very much of the feeling one is put in.

I want to say the ensemble cast is fantastic. Church really made me question just how much of a friend he was, and yet still made him completely sympathetic and be able to be understood. As for Virginia Madsen... I felt like I was also falling for her like the lead. Some of her scenes, especially the conversations between her and Giammatti, she plays incredibly. She makes you feel the likability of her character, and yet also feel the sensuality and the vulnerability that she is pushing through with her shared desire. She was fantastic. Giamatti is fantastic as the disappointing lead, and although he always seems to play these sort of characters, he knows what to do to make them completely work.

Overall, extremely satisfied with this, and still here is the unique touch of real feeling for the characters that I witnessed in the Descendants. How could I not love this? Payne's film pushes through the screen what can only be described as an incredibly real connection, a connection that I honestly don't witness very often with comedies.