- Hello?
"Hi Dan.
- Wendy? Let me turn off the TV. Where are you?
-In Oregon.
- Alone?
"Yes, something like that.
- And what happens?
"Nothing, just called ...
- Nothing? ...
"The car broke down. And there is something wrong ... Lucy is lost.
(Enter the sister in the conversation, picking up another phone)
- Who is that?
"Your sister, car broke down in Oregon.
"Hi Deb.
- What do you want for it?
"Nothing ... Just call.
-only calling.
"Well we can not do anything. I do not know what they want.
I do not want anything, just call.
I can not go on the phone. Talk to you later. Goodbye darling. Is everything okay?
"Yes, everything is fine.
"That's getting dark, so I'll call you later.
"Okay.
"Everything will be fine, see you.
"Yeah, see you, bye.
-bye.
Only this humble scene Wendy and Lucy is much sharper and says more about the issues background of the American family estate the last film by Sam Mendes, Revolutionary Road , throughout its length.
seen in both films a similar heritage, of that dirty realism norteamericamo trying to dig into the miseries and unfulfilled dreams and gave as good results in some type of literature. Revolutionary Road try to assimilate this legacy directly, going to the origins, this work Richard Yates to anticipate the look of those who came later. Wendy and Lucy reminds us more directly to Raymond Carver, the uneasiness, the void, and shows enormous panoramic through an intimate detail, such as the aforementioned telephone conversation.
Sam Mendes's film has good intentions, but try to be too high and reach almost all of his accomplishments ballast. For example, one of the best moments in the film, when Kate Winslet finds the Parisian photo of her husband and triggers the motor of the plot, is marred by an immediate flashback to try to explain what goes through the head of the protagonist stressing As any viewer already knew a little bit interested. And there are moments scattered throughout the film, so that something that looked and could have been profound subtle just in the drawer Hollywood disaster movies, incorporating stereotypes and some of his worst weapons. There is more to think the worst of the film, the shameful character played by Michael Shannon, who seems Sam Mendes himself explaining again the film will not be that someone has not understood.
In contrast, in Wendy and Lucy , Kelly Reichardt does not make any of these errors and get your film becomes a tiny plot in a powerful look at the loneliness, the American heartland, and human condition in general. With a style impeccably precise, able to do bodily the actual power of the earth and a certain urban-rural geography, the American director takes the best legacy of filmmakers like Jim Jarmusch and the purest essence of literary minimalism of Raymond Carver.
And while you're talking about Kate Winslet and its correct interpretation in Revolutionary Road, gives a bit of shame to overlook the supernatural action of Michelle Williams in Wendy and Lucy , who is rumored a possible Oscar nomination , as expected, has been sadly in the air. Revolutionary Road
, despite all its flaws, is an interesting movie, with moments that become subtle to be made within the Hollywood establishment. Wendy and Lucy , by contrast, is an essential work, the other side of the coin.