It felt like my old days of Bay Area arts-going as I enjoyed a live performance followed by a film in close proximity to each other (and walking distance from my apartment!) in downtown Ann Arbor this evening.
First up was an Ann Arbor Summer Festival kick-off appearance from Ms. Lily Tomlin – a Michigan native and (obviously) esteemed performer who does not act or present like the stereotypical/imagined 74 year old. Tomlin seemed to relish being onstage, frequently walking around with her hands outstretched like a very dedicated power walker, and easily slipping in, vocally and physically, to various characterizations from her catalogue. She also incorporated several video segments into her monologue, mixing a bit of older excerpts with some material that may have been conceived especially for this show. Perhaps most impressively, she delivered her whole 90 minute set as an extended monologue, barely pausing for breath on a handful of occasions and never needing to look at a card or any sort of prompt.
While I enjoyed the opportunity to see a legend like Ms. Tomlin onstage, I didn’t feel 100% connected to her material and felt that I might not be in the intended age range and/or demographic that she is gearing towards. I don’t hold that against her at all and am grateful for the chance to see her live, as she always has projected intelligence, fun and good humor in the various television and film projects I have seen her in over the years.
On my way back towards my apartment from Hill Auditorium, I noticed that my erstwhile favorite art house, The State, had some new films on the lineup, including Cold in July, which happened to be starting its late show right when I was in front of the cinema. So I ventured inside.
This film oozes Texas character, and at times seems like a sibling to No Country for Old Men as it tracks another trio of Lone Star State characters seeking vengeance for mysterious – and not clear until the final reel – acts. It is also based on a book, though I had not heard of the title.
Subtlety is the name of the game as the plot unspools, with Michael C. Hall in the central role projecting resoluteness alternating with uncertainty. He is strongly supported by older veterans Sam Shepard, who needs no introduction but really shines here after window-dressing in his August: Osage County cameo appearance, and an initially unrecognizable Don Johnson poking fun at his suave reputation, and then going deeper as the story goes on. Up and coming celebrity progeny Wyatt Russell makes an appearance late in the film as a key character, and isn’t given much to do or say, but projects strong screen presence. Character actress Vinessa Shaw gets the major female role, and while unfortunately she isn’t given much to do, she continues to demonstrate an intelligent screen presence that I first noticed way back in Hocus Pocus.
The familiar plot concerns the ricochet effects that happen to Hall and Shaw and their son after Hall suddenly shoots an intruder in their home late one night. The first quarter of the film covers standard police procedural territory, and then things turn more interesting after that, leading to a predictable, though well thought out explosive finish. The story doesn’t really tie up all of its initial loose ends, but it seems to be more concerned with the mood and impact of the violence. I guess that means more realism, and some of the scenes – and Hall’s remorse and uncertainty alternating with resolve – recall the recent Blue Ruin.
Technical elements of the film are solid if not outstanding, with the most detail seemingly on the 1989 period setting. Fitting in with the subtlety, and possibly low budget, I liked that most of the elements were suggested rather than fully realized, such as old cars tooting around the dusty Texas town, a night drive to the Houston area with only a distant highway sign giving a sense of place, and the finale initially beginning offscreen, but audible, and the main character moving into the forefront of the action. I could have done without, or preferred a different, music score from the at times heavy-handed cues that were used, emphasizing classical music and speaking for some of the character motivations in place of dialogue. I appreciated the act by act structure of the plot, in that it was well defined, and again feel that morality tales such as these are great fits for late shows on a Friday or Saturday night.
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