“All of that”—the death of the New York club scene in the early ’90s, the Pootie Tang debacle—”has helped me form what I call my 70 Percent Rule for decision-making.” C.K. then describes a practical application of a worldview laced into many of his best routines—that “everything is amazing and nobody is happy.” If we just wrest our eyes, literally and figuratively, from our digital gizmos and the shitty, spoiling impatience they instill, we’ll see that this life, this planet, is amazing. That it is something just to be in the world, seeing and hearing and smelling. That for trillions of miles in every direction from earth, life really is blood-boilingly, eye-explodingly horrific.
“These situations where I can’t make a choice because I’m too busy trying to envision the perfect one—that false perfectionism traps you in this painful ambivalence: If I do this, then that other thing I could have done becomes attractive. But if I go and choose the other one, the same thing happens again. It’s part of our consumer culture. People do this trying to get a DVD player or a service provider, but it also bleeds into big decisions. So my rule is that if you have someone or something that gets 70 percent approval, you just do it. ‘Cause here’s what happens. The fact that other options go away immediately brings your choice to 80. Because the pain of deciding is over.
“And,” he continues, “when you get to 80 percent, you work. You apply your knowledge, and that gets you to 85 percent! And the thing itself, especially if it’s a human being, will always reveal itself—100 percent of the time!—to be more than you thought. And that will get you to 90 percent. After that, you’re stuck at 90, but who the fuck do you think you are, a god? You got to 90 percent? It’s incredible!”
I didn’t buy The Fighter much as a boxing movie and I had a hard time believing some of the characters and scenarios in Silver Lining Playbook but I also enjoyed both movies. Sometimes you aren’t irritated by things that would normally bug the hell out of you. That’s the only way I can figure it–it’s a matter of taste.
Almost everything in first few minutes of American Hustle–a protracted take of Christian Bale gluing fake hair to his head, a slow motion montage set to classic rock music, showy period decor and outfits not to mention everybody’s hair, oh, that hair!–would usually annoy me. But in this case, it didn’t. In these first minutes the mix tape is rolling–from the movie’s signature tune, Duke Ellington’s 1958 recording of “Jeep’s Blues”, to America’s “A Horse with No Name’, to “Dirty Work,” the moody and vibe Steely Dan record. The two rock songs are as obvious (“On the first part of the journey…”) as the hairstyles but they made me happy regardless.
Christian Bale hides underneath an elaborate combover and a big gut. He fidgets with his glasses and at times seems to a pastiche of mannerisms from other actors (Alec Baldwin’s cackle, Robert De Niro’s body language). It’s hard not to be aware of his acting and yet I found this to be the most sympathetic performance. He deadpans his way through many of his scenes and he’s easy to root for. So is Bradley Cooper who plays his nemesis, a slick, ambitious climber, whose sadism in a few scenes suggest Peter Seller’s Claire Quilty. (He’s also funny, like when he does a quick impersonation of his boss–played by an effective Louis C.K.)
Amy Adams is terrific as Bale’s partner and Jennifer Lawrence continues to brighten any movie in which she appears even though her role is small and underwritten (she can’t quite seem to decide on an accent but otherwise gives her part great credibility). The showdown scene between Adams and Lawrence is not something I’ll soon forget. Russell likes women and he takes care to treat them with respect. In one crucial scene, Adams gives an pointed speech and leaves Bale with something to think about. The scene ends with her walking out of the room. As she walks away her full body comes into frame. I waited for Russell to show her ass–the wiggle, to punctuate things–but he cuts just before the wiggle. A subtle choice.
Jeremy Renner ( more good hair) is strong in a supporting role and Robert De Niro is frightening in a cameo. It’s been a long time since I recall being moved by De Niro but I thought he was really good.
American Hustle is a feast of over-the-top moviemaking (anxious, luxuriant). You can’t get away from the movieness of it. The comparisons to Good Fellas might be superficial but they aren’t far-fetched. This isn’t just a 70’s nostalgia movie like Carlito’s Way, or The People vs. Larry Flynt or Candelabra, it belongs to a specific sub-genre that began with Good Fellas and continued with Boogie Nights and Blow. The technique is familiar. Russell’s camera is constantly moving, pushing in, tracking, panning. I’ve read that Russell likes to be in close proximity to his actors, often calling out lines to them as they improvise a scene. The camera is never far away from them, either. You can almost feel Russell in the scene with them. I like how they recorded the voice overs, especially here–there is a breathiness to it that heightens the sense of intimacy.
Much of Russell’s style comes from Scorsese. But if Russell grew up on Casavettes and Altman and Scorsese he’s closer to Preston Struges. His for screwball comedy, especially between men and women, is his most winning trait. For all the yelling and screaming that goes on in his movies, things turn out okay for everyone in Russell’s world. There isn’t one sequence that has the kind of nervy tension of the Alfred Molina scene in Boogie Nights. Russell never makes you that uneasy. For some people, this is where he falls down. I’ve talked to a lot of people who think American Hustle is phony. And I can see that. But I respond to the pleasures he offers up. They win out.
I worked for Sandy, as an apprentice film editor, on “Everybody Says I Love You.” She was–and is–a huge sports fan and we went to several Knicks games together. I last spoke to her about a year ago and didn’t know she’s working on Louis C.K.’s show (which I still haven’t seen).
Anyhow, dig in. She’s a thoughtful and bright and a wonderful editor. Also a great person.