Intriguing Cast of Characters in 'The Company You Keep'

IT has a marquee name director-producer and a high-voltage cast.

These are the two most interesting aspects of “The Company You Keep.” The film opens today in New York and Los Angeles before rolling out elsewhere. It had its world premiere at the Toronto Film Festival.

Robert Redford is not only one of the producers and the director, he is the star among stars of the film. When was the last time RR had a major role as a director or actor? Long time ago. Also onboard in “The Company You Keep” are Julie Christie, Chris Cooper, Sam Elliott, Terrence Howard, Richard Jenkins, Nick Nolte, Susan Sarandon and Stanley Tucci.

That’s a lot of starpower for this little thriller based on Neil Gordon’s book of the same name. The plot centers around a former Vietnam-era radical Nick Sloan (RR) who went underground after he was accused of some lawbreaking he may or may not have participated in. He’s guilty of something, but not the crime that the FBI wants to put him away for. Smart guy that he is, Nick remakes himself as Jim Grant. (See video above).

Jim had been living a good, quiet life until overly ambitious and ethics-challenged reporter Ben Shepard (Shia LaBeouf) outs him. Now Nick/Jim is on the run from the FBI while he searches for a former flame, Mimi (JC), who can clear his name.

During the chase and search, many characters in the guise of the aforementioned names figure in the mix. So often, films with too much star power turn out to be a big mess. No so for “The Company You Keep,” but it is not a great film either. It is a middling affair that is made all the more bearable because one can gawk at the stars, even if only in a cameo role.

“The Company You Keep” is rated R. Visit http://www.sonyclassics.com/thecompanyyoukeep/ to learn more about the film. Rx

In ‘Cloud Atlas,’ What One Does Today Lives On ...

“CLOUD Atlas” will likely go down as one of the year’s most provocative, misunderstood and critically acclaimed films. It reportedly received a 10-minute standing ovation after its world premiere at the Toronto International Film Festival last month.

The sprawling work, with three directors and a big-name cast headed by Halle Berry and Tom Hanks, opens in North America today. (See video above.)

Some critics love it with all capital letters and bold type. Others have called “Cloud Atlas, ” directed by Tom Tykwer, Andy Wachowski and Lana Wachowski, laughable, as well as well-meaning but ultimately a mess.

“Confusing,” pronounced a film companion of Yours Truly whom I ran into last night right after she sat through its almost three hours (164 minutes for North America; 171 for the UK). Incidentally, there is no intermission.

Halle Berry and Keith David. Photos courtesy of Warner Bros. Pictures.

“It started out in the present-day,” Companion said, her eyes glassy with bewilderment or suffering the effects of sitting in a dark room looking at a bright screen for what’s considered nearly half a regular work day in the United States. “Then it went back in time to the 1800s, then it became futuristic. I didn’t understand it. I don’t think I want to see it again.”

“Once was enough," asked I.
Companion simply nodded in response.

Doona Be.

Film critic Roger Ebert pronounced that he simply has to see “Cloud Atlas” three times. He’s already seen it twice for those who may have lost count.

It’s not much of a stretch to imagine that “Cloud Atlas,” which was shot in Hong Kong Germany, Singapore, the UK, United States and other locales, could cause such varied responses. The film is based on David Mitchell’s critically acclaimed and award-winning 2004 novel of the same name.

“Cloud Atlas” employs six different stories that unfold in different places and different eras to make the point that our actions – for better or worse – have consequences that impact the past, present and future. These actions have the power to work for good or evil.

The six stories each have a narrator or protagonist. The first story starts in the 19th-century South Pacific and the sixth story is set at a time far into the future. Initially, the tales work on a continuum. Each main character in the story that follows reflects on the story just ended. Then gears shift rather dramatically as the stories end but go back in time – not forward any longer – ending where it began.

Susan Sarandon and Jim Broadbent.

No doubt, all of this back and forth will give some viewers whiplash – and yes – may cause annoyance, confusion and, delight. The actors (and makeup people) sure work overtime and over time. Virtually all have multiple roles that also transcend gender, ethnicity and age. Susan Sarandon, whose appearance is something of a cameo, plays four characters; Jim Broadbent plays five. Hugh Grant, HB, TH and Hugo Weaving have six roles.

Tom Hanks and Jim Broadbent.

Another not so surprising observation about “Cloud Atlas” is that it opened in time for Oscar consideration. Taking into account its reception at Toronto and among the major critics, it will likely receive some nominations. And perhaps some winners, too.

“Cloud Atlas” is rated R for "violence, language, sexuality/nudity, and some drug use." Visit http://www.bit.ly/MsC6tA to learn more about "Cloud Atlas."

Getting Needs Met for a Price in 'Special Treatment'

Alice (Isabelle Huppert) wants to make a career change in "Special Treatment." Photo by Patrick Muller.

ENNUI is a terrible affliction. It has the power to drive human beings to do all manner of daffy, dangerous and destructive things.

In “Special Treatment,” the first film from French director Jeanne Labrune in six years, she brings attention to the parallels of two seemingly different professions. It is ennui that is the cause of depression and listlessness in call girl Alice (Isabelle Huppert) and psychoanalyst Xavier (Bouli Lanners). The film opens today in New York at Cinema Village (http://www.cinemavillage.com/) and on 16 Sept. in Los Angeles at Laemmle Sunset 5 (http://www.laemmle.com/).

The argument can also be made that the two Parisians in “Special Treatment” are ill-suited to their chosen métier. Further, they are both in their 40s and simply may be experiencing a midlife crisis. This is especially the case for Alice. (See trailer at: http://www.firstrunfeatures.com/trailers_specialtreatment.html)

IH’s Alice as the main protagonist goes about her work as if on autopilot. She sets up for her role as a schoolgirl, including plaid skirt, white shirt and over-the-knee socks and for her role as a dominatrix (collars, chain, dog food container, raw meat, etc.) with the insouciance of one watering the plants. A consummate professional, she does not sh_ _ where she sleeps, so to speak. She has a separate apartment for her work. When the schoolgirl-loving john (Jean-François Wolff seems to be suffering from ennui himself, Alice casually offers to recommend him to one of her colleagues.

Alice (Isabelle Huppert) and Xavier (Bouli Lanners) have a common complaint in "Special Treatment." Photo by Virginie Saint Martin.

Where Alice is indifferent, Xavier is contemptuous. Is his bad marriage responsible for his behavior? At around 60 euros for 15 minutes or whatever the good going rate is for sessions, one would think Xavier would bother to offer a harrumph by way of a response to the clients reclined on his sofa. They prattle on desultorily; they ask and answer their own questions. Xavier just sits mutely – obstinately – until their time is up at which point he gladly shows them door.

JL’s inspiration for “Special Treatment” was a chance-reading of a book that touched on a word in psychoanalysis that she noted has a different meaning in prostitution. Thus was born an idea that she and co-screenwriter Richard Debuisne have fashioned into a smart, sophisticated screenplay. Strong women tend to figure prominently in JL’s work. It is inconceivable that a male director would pluck an actress in her late 50s to play such a character. Alice is both likable and empathetic, not sympathetic.

The immensely talented IH – who in this role brings to mind both Susan Sarandon and Lauren Hutton – is one of the very few actresses on earth who can credibly evoke Alice’s allure, beauty, confidence, intelligence and vulnerability. Wisely, JL knows that the implication is sufficient, precluding the need to show Alice in the act. Though she is a 43-year-old prostitute, Alice is utterly desirable. A man 28 and one 58 (IH’s actual age) would be drawn to her. She shows no physical manifestations of the ravages of her profession. And never is she a tragic, pitiful or pitiable figure.

A special-needs client (Jean-François Wolff) gets a little comfort from Alice (Isabelle Huppert) in "Special Treatment." Photo by Patrick Muller.

Alice has a steely determination to recapture herself. She doesn’t slink away when she believes someone is looking down on her because of her chosen profession. She and Xavier meet through a mutual acquaintance and it looks as if they may reach an accommodation. It does not work but they help each other in a far more meaningful way.

“Special Treatment” is billed as an erotic drama more likely because this is familiar territory for JL whose milieu is the cult of darkness. However, as she asserts in the production notes, lately she has moved a few steps away from the darkness. Whenever the subject is prostitution – and psychoanalysis to a lesser extent (body intercourse/mind intercourse) – invariably the images of darkness and erotica are evoked. Yet in “Special Treatment,” JL draws on the inner lives of her characters to produce a significant amount of light and laughter.

Xavier’s excessive hand-washing is almost a running joke. A hidden side of the taciturn psychoanalyst is revealed in his simply attending an auction. Alice, early in the film, is antiquing with one of her colleagues/friends, Juliette (Sabila Moussadek). She seems every bit a member of the bourgeoisie with a flat in Paris’ 16th arrondisement. Later, she informs Juliette that a new client (Xavier) is a coveted chandelier – meaning that he will be the means to purchasing it. One of the lightest and most illuminating moments in the film is when Alice explains in great detail her rate structure to a befuddled Xavier.

Alice (Isabelle Huppert) in the guise of the dominatrix in "Special Treatment." Photo by Patrick Muller.

FYI, the setting up of props is charged to the client. Also note that clients must book Alice in 10-block sessions and do not receive a refund if they cancel or wish to end their visits before they have exceeded their 10 sessions. On the otherhand, if Alice wishes to cancel or end the visits, she will refund the cost of unused sessions only. Light and illuminating.

JL uses “Special Treatment” to do what she says she has done in all of her films: “tell a story about overcoming something.” It is a clever, engaging, witty film that presents two people dealing with an ailment of the human condition and overcoming it in a way that is well-suited to their respective situations.

“Special Treatment” has no rating. It is shown in French with English subtitles.