Por Conta do Destino

This film begins with the Glenn Close character, a famous actress who could be Close herself, giving a master class in Shakespeare to a bunch of Juilliard acting students, in which she laments the lack of passion she sees in their performances and, more broadly, in the world she inhabits. Which is a fitting, and ironic, prologue for a movie that looks at the ennui of urban lives and the emotional earthquakes that disrupt them. This is a contemporary New York character-driven drama, but it reminds me of a 1970s movie -- in a good way. There are slightly retro split screens, long-lens conversations like mid-period Woody Allen movies, and a sense of lightness in the directing style that never becomes slickness. It's also refreshing to see an independent film that doesn't completely deteriorate in the third act -- it's almost become taboo to tell a story that is satisfying in the world of independent film, because it's seen as a concession to Hollywood. But this manages to do it in a convincing way without selling out to the forces of cheesiness or convention.

HEIGHTS ***** A cross between 'Playing By Heart' and 'The Ice Storm', 'Heights' is a ferociously clever montage of character triumph and fumble, played within an aura of amorality and dark secrecy. Callaborators Chris Turrio and Amy Fox seem to have the simple intention of penetrating an interplay of character dynamic to the audience, making sense and importance out of each scene, and reaching a faithful finale. The film's quasi-surreal blend of musical score (Ben Butler, Martin Erskine) and direction (Turrio) makes the story seem more complicated than it really is because, in truth, the viewer can relate to its societal or interpersonal issues in a degree. The story presents a search one takes in finding something more fulfilling when life has either grown weary or boring. The densely layered characters all have this hunger, with modulated performances that govern the transition between normal thinking and obscure behavior amid their struggles. Within the famous theater actress (Glenn Close), who has skill and a passion for her work, we sense delicate vulnerability due to an impacting marital issue she's facing. Her daughter (Elizabeth Banks) has troubles of her own: Finessing her decisions between the welfare of others and meeting her own needs, particularly in terms of whether to marry a burdened attorney (James Marsden). I don't believe it's a film to take lightly, but it's definitely a rewarding viewing, with accolades deserved by all involved.

What I like about this film is that it moves like a panther. I feel like I'm outside of it but close enough to smell it. There is lots of intimacy and wonderful performances by everyone, some of which weren't fully comprehensible until the end. Glenn Close is an amazing person to watch doing anything and it was a double treat to see her, in dark hair no less (which I loved), playing an actress going in and out of character all of the time. Elizabeth Banks grew on me - at first, I just wished it were Parker Posey (whom she reminded me of at first). But, as the film developed and I could get over that resemblance, I enjoyed her performance. Jesse Bradford, who has been showing up in a lot of interesting roles the past few years, was notable as always. I liked George Segal as the rabbi without a clue until his being exactly where and what he needed to be when it really counted. Another thing about the film overall which I really liked was that the gay, straight, and everyone in between characters were all so much more real than they usually are in film. They were all over the map and that's where we all are in real life so it was a pleasure to see that. There were nuances on top of nuances and that, too, is what most of us experience but rarely see on film. James Marsden was great as Jonathan from the beginning to the end. I really liked Rufus Wainwright's character Jeremy... reminded me of a good friend of mine. There are too many good moments in the film to list them all.

Decepcion and secrecy seems to be the root of the burden Jonathan is carrying in his troubled soul. During the course of a few hours he will have to face the truth about himself as his past comes back to haunt him in ways he didn't realize it would affect him.

Amy Fox has opened up her play by writing a wonderful screen treatment that Chris Terrio, the young and multi talented director presents for us with great panache. Ms. Fox created strong characters that come alive in the film. We are taken to some of Manhattan's rooftops and terraces to get a first rate account of people trying to deal with real problems. A point the film is trying to make is about how well do we know people close to us, even those we think we are in love with.

At the center of the movie is Elizabeth, who is living with Jonathan. They are planning to get married. Elizabeth is a talented photographer who is a free lancer. Jonathan is Jewish, but she is not; he wants her to go to see the Rabbi who is going to marry them. It's clear they are not at the same wave length, and not because they come from different religious backgrounds.

Diane, Elizabeth's mother, is a much admired actress in the New York stage. She has an eye for spotting handsome young men, as it's the case when she auditions Alec, a young actor that wants to be in a play she is going to direct. It's clear she likes him for other non acting role as well. Diane and her present husband are married for appearances sake, as we get to see him in action with another woman.

"Heights" makes an interesting point in showing how inter connected all these characters are and how a small, innocent incident, will unravel things as Elizabeth gets to see first hand how wrong she has been about the man she is going to marry.

Glenn Close, as Diana, makes an amazing appearance in the film. She is such an elegant performer that knows well what makes Diana act the way she does. She is not a diva, on the contrary, she seems to be a grounded woman whose love for her daughter is clear. Elizabeth Banks is wonderful as Diana's daughter, Isabel.

The surprise of the film came via George Segal, who as Rabbi Mendel, clearly sees what's troubling Jonathan. Mr. Segal is a welcome sight in the film after being absent so long. James Marsden, Jesse Bradford, Rufus Wainwright, Eric Bogosian, Michael Murphy and a lot of New York based stage actors are seen in minor, but effective roles.

This film clearly demonstrates the talent of Chris Terrio bringing all these actors together to do ensemble work. Mr. Terrio is lucky to be working with Jim Denault who has photographed the film with such an elegant style. Also the music by Ben Butler and Martin Erskine enhances the film.

Heights is, at its most basic, an exploration of desires. The characters around whom the movie revolves think they know, at the beginning, where they're headed, what will happen to them, what they want to happen to them. But as the movie progresses, their certainties are challenged and sometimes swept away entirely, and their carefully constructed lives begin to unravel.

Glenn Close is Diana, a brilliant 40-something Shakespearean actress and somewhat irresponsible mother. Her open marriage once seemed like a terrific idea--have your fun on the side, have a loving husband at home--but as her "loving husband" becomes more and more deeply involved with another woman, she begins to realize just how unfulfilling that philosophy is.

Diana's daughter is played by Elizabeth Banks, in a very Scarlett Johanssen-esquire role. Isabel is a struggling photographer who makes ends meet by taking wedding pictures, while still trying to pursue a more serious career. Her second thoughts begin to appear when her upcoming wedding to Jonathan becomes an obstacle to a once-in-a-lifetime chance to use her talent. Jonathan himself has a past he's desperate to hide, potentially ruinous secrets he's working to keep from his wife-to-be.

The situations are strung together by the existence of a never-seen photographer named Benjamin Stone, who is scheduled for an exhibition in a few weeks. A man named Peter, who we are given to understand is Benjamin's current flame, is tracking down his previous models (and incidentally, lovers) to compile his memoirs. His work loosely ties in the rest of the characters, providing some structure to the interlocking plot lines.

This movie has the power and appeal that you generally find in beautiful films about unhappy people. No matter how happy or hopeful you find the ending, it's still a bit of a downer, because of the raw exposure of the characters. There are uncomfortable moments when we're privy to deep-seated emotions and unsettling situations, but there are also remarkably tender moments. The acting is generally understated and simple, with a few intense moments--your basic fare from a character study movie. But the adaptation from stage to screen, though apparent, is nearly seamless, and the text translates well to film.

Highly recommended to fans of Closer and similar movies.