Starlet

Starlet is a character study very much in the spirit of films from the 70s. I think the director was influenced by the likes of Hal Ashby and Paul Mazursky.

A young, slightly aimless woman who has just moved San Fernando Valley, buys a vintage thermos flask at a yard sale from a cranky old lady and discovers $10.000 inside. After making a half-hearted attempt to give it back, she keeps the money, but then feels guilty and tries to befriend the old woman, who remains guarded to the point of hostility at the prospect of having her life disrupted.

The film doesn't ever resort to cosy indie movie clichés about the old passing on their wisdom the the young and life lessons being learned. It also doesn't exploit the young woman's line of business for cheap melodrama, as lesser films would. Both lead performances are wonderful and a cute dog always helps.

The film looks and sounds gorgeous and the director has a knack for what to show us and what to leave out. It's another good case for digital film-making. Talented independent film makers can now make great looking films for peanuts, which is just as well considering Hollywood has almost completely given up on making films for adults.

BTW. the trailer makes this look like another anodyne "heart warming" indie, full of laughter and whimsy, when really it's a much more melancholy, ambivalent and subtle film.

My Wife and I watched the at home last night, and wanted to extend the experience with IMDb audience, so I dug into the back story, -- those who made the film in all capacities and other comments such as this. I loved these people in the film, and wanted to extend their "relationship" for as long as possible. The film, rather than being a scaffolding for dramatic tension, was a minimalist plausible story to allow the two main characters, one nearing the end of her life and the other at the beginning, to connect. The occasion for the meeting while unusual, advanced the plot without overpowering the story.

I have just viewed this short video interview of the two leads, Basedka Johnson, who played the elderly Sadie, and Dee Hemingway who portrayed Jane. http://www.youtube.com/watch?v=LsFjMldSSnE If you loved the film, watch it.

If the profession of casting is discovering individuals who encompass the genuine emotions of the fictional characters of a drama, then this was an inspired example of the art. No looking through face shots or previous performances for casting Sadie, as an executive director recognized her character in the women next to her at a local fitness center, and uttered the mythic Hollywood words, "You could be great for the lead part in a film we are making." This is further discussed in the video I reference. Not exactly the best time of life to get such an opportunity, but Basedka jumped at it, with the due caution of her age.

I'm not sure that this magnificent film actually represents the finest example of the actors craft, which at its best can only be a close simulation of reality. What I felt watching the film, and now have confirmed by the single video of the two, and there will be no more since Basheda died soon after at 87, are two people of independent minds who have genuine affection for each other. Those who wrote, directed, edited and contributed to creating this film had the sense and restraint to provide a serviceable vehicle for this to be played out without any undue interference.

They have allowed millions of people to be with two genuine people and their characters for a brief time, who in both realms come from very different backgrounds, yet who share a common humanity. Even the usually seedy world of pornography became just what they did for a living, rather than defining them any more than any other occupation.

For someone much closer to Basheda's age than to Dee's, it is inspiring that she toughed out those last years, and was able to take the surprise of instant fame before it was all over. There are levels of this film that I still haven't been able to fully internalize, much less describe, which is a sign of a work of art that affects the viewer in ways that defy explanation.

Our story starts with a young woman, Jane (Dree Hemingway), going to yard sales in search of items to brighten her drab bedroom. She meets an older woman named Sadie (Besedka Johnson)who sells her a thermos. Jane discovers that it contains about $10,000. This is the jumping off point for the story of Starlet.

The entire film is a story of revelation. We follow the natural progress of the women's lives and the development of their relationship. As they learn about each other, the viewer learns about the entirety of their lives. Jane is a cheerful woman who embraces life with a smile. Sadie is rather gruff and distrusting. The contrast in their personalities is rather a reverse of the Harold & Maude story (which the director cites as an influence).

Some of the revelations are mundane, some are surprising. Through it all, the unlikely pair forges what might be a friendship. The film is about the nature of friendship. What does it mean? Does it entail responsibilities as well as benefits? What are the commonalities necessary for friendship?

The director, Sean Baker, seeks cinema verite. The result feels like a slice from the lives of two distinctly different women. One is at the beginning of her adult life, the other is at the end. But neither has a real family, so there may be common ground after all.

Meslissa Maeve is a standout as Jane's roommate, Melissa. And a special mention should go to Boonee who plays Jane's dog, Starlet (actually the pet of the director) and steals some scenes.

The last revelation comes in the final scene. It is a scene much discussed on the message boards. Personally, I loved the scene. It is beautiful and revelatory at the same time.

A good movie about a young, energetic, friendly woman who, as a result of various circumstances, befriends a lovely, somewhat grumpy old lady. Not very original, as you've probably already surmised, there have been tons of movies, and TV shows covering the same relationship dynamic, and quite possibly the same basic outline. Some of those good, others bad, still others horribly bad and cliché, this however is 1 of the good 1s. The acting, directing and story-line were all good, resulting in a mellow, slow paced film with tiny peeks of highs and lows.

It's shot in suburban L.A. and has a distinct L.A. feel to it, at least it did to me, in the neighborhoods, the mountainous backdrops and perhaps too in the characters. I suppose that might not be really important, but I like to get engrossed in he cities and countries I see in movies.

The 1 bad thing I'd have to say about this movie though would be the ending, it seemed really abrupt, I assume the director/writer wanted us to mull over the last scene as we finished he movie but really it just left you wanting to see that scene/conversation played out and wanting the words that were implied to actually be spoken.

Overall a good movie, not great but good.

A touching look at an unlikely relationship between an adult film star (Dree Hemingway) and an elderly widow (Besedka Johnson), one that starts when the former discovers $10,000 stuffed into a vase she's purchased at the yard sale of the latter. Feeling guilty, she initially attempts to return the money, but soon settles into doing favors for her, despite encountering prickliness and suspicions that she's a scammer.

It's an offbeat story, perhaps exploring the ways in which kindnesses are exchanged, and the tug between looking out for oneself and forming friendships. The young woman has a friend/roommate/fellow porn star (Stella Maeve) who uses her as much as she is used by her creepy boyfriend, and in contrast to her beauty, has some really ugly outbursts, including hurling a racial slur and erupting at her friend. The performances feel organic and wonderful throughout the cast, including little moments like with the makeup artist or the shy fan at the film expo. It was astounding to me that 85-year-old Johnson was discovered by Sean Baker in a gym and appeared here in her only film role.

As with all of Baker's work, there is a deep streak of humanism and great care to avoid judgement, and along the way we get glimpses into the porn industry and senior bingo nights. The ending comes out of left field and is a reminder that people are carrying around pain that we'll often ever know, a profound moment in an otherwise subdued, yet satisfying script.