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I have seen
the future of movie stardom and her name is Ellen Pompeo…
I wish I
could say that I was the first to discover the star quality
that Brad Silberling and casting director Avy Kaufman
are about to see skyrocket because of their vision.
But some guy named Steven Spielberg gave her
a small role in Catch Me If You Can and she’ll turn
up in Mark Steven Johnson’s Daredevil.
She is not
Kaufman’s first discovery.
She also found Adam Hann-Byrd for Jodie Foster’s
Little Man Tate, cast Tobey Maguire in his breakthrough
role in The Ice Storm, put Sean Patrick Thomas
in Save The Last Dance, gathered together the surprising
cast of Dancer in the Dark and worked on a TV show
called “The Job,” where a little-seen actress named
Ellen Pompeo did a guest spot.
And now, Ms. Pompeo is going to be a movie star.
But I’m getting
ahead of myself…
Brad Silberling has made three movies. All three have involved the presence of the dead in the lives of
living people, trying to get on with their lives. The first was Casper… a not-very-good movie that was, obviously,
meant for children. When
Silberling remade Wim Wenders’ Wings of Desire
as City of Angels, the critics’ heads started spinning
like Regan MacNeil and some knives came out.
(That didn’t keep Pablo Villaca from saying,
“Uma pequena
pérola que faz jus ao filme no qual foi inspirada." But I digress…)
I thought
City of Angels was a well-made weepie.
But in Moonlight Mile, Silberling comes of age
as a filmmaker to be reckoned with. Expect this film to be a serious Oscar player
from its release in late September all the way through the
awards season. Jake
Gyllenhaal has finally found the role that should answer
the critics who have wondered what all the fuss is about.
He has a real shot at an Oscar nomination.
Susan Sarandon is a shoe-in for a Best Supporting
Actress nod. (She also co-produced the film.) And while Dustin Hoffman is terrific…
I don’t know. There
is always a boatload of competition for Best Supporting Actor
and this is not a showy performance… but maybe.
And then
there is Ms. Pompeo, who is a taller, straighter, quieter
Renee Zellweger… no offense to Ms. Zellweger, who may
well be in Oscar contention herself this winter if she steals
the show in Chicago.
But there is an energy that is different between a
great actress and second-tier movie star and the top players.
And I saw that in Ms. Pompeo the very first time Silberling
and DP Phedon Papamichael’s camera caught her.
This is not a “oh-my-god-is-she-hot” thing. She is hot, but… This is
a movie star thing. Seeing
her on screen is like watching a racehorse run and being so
drawn in by the sheer beauty of the physicality and movement
that you don’t even notice that your horse has won the race
going away. Trust
me. You’ll see.
The movie
is about a mother and a father and a fiancé who have lost
their girl. (I only use the word because it is used by Sarandon in the film.)
The fourth seat at this emotional bridge table is filled
by Ms. Pompeo, whose character I don’t want to describe, since
discovering her story is such a delight. It’s a delight because of the performance,
but also because of Mr. Silberling’s script and direction.
Silberling
is, right now, the film world’s master of touch… literally.
Watching his work, in this film and in City of Angels,
is to be aware of such delicate intimacies.
Remember the heat around the clay wheel scene in Ghost. I would argue that it wasn’t the sex, but the
physical intimacy. And
I can’t think of anyone who is doing that better right now
than Silberling. You feel the tips of fingers lingering, caressing,
yearning… it’s quite beautiful.
And unashamedly emotional.
If I were a woman, I’d be looking for a man like Silberling. As a man, I can only hope to make a woman feel
like Silberling’s women feel on screen… to have that intimacy.
The story
is based, according to a variety of sources, on Silberling’s
own experiences after losing his then girlfriend Rebecca
Schaeffer to an act of sudden violence in 1989.
That explains, perhaps, his fascination with love and
loss. But the movie
isn’t maudlin. It
is heavy, but it never grabs you by the collar trying to force
you to feel. It brought to mind losses in my life… family,
loves, friends. Silberling
understands those moments intimately.
The little things that stay with you… the big things
you just can’t face… the emotional swings… the pain… the relief…
it’s all there. But Silberling also understands moving on.
I really
loved this movie. Didn’t
see it coming, even as I snuck into it via some Harry Knowlesian
spy techniques. (Don’t get me started!) With everyone… even the stars… working just
as actors, this is a movie that will have to build an audience. Disney is releasing it on the coasts and then
going wide a week later.
But I suspect that it will find a place in the heart
of anyone who has lost and gone on to live and love again…
or at least those who are willing to open themselves up to
that emotional ride.
I’ll be looking
forward to taking another look at the film up in Toronto next
month. (Note to Disney – You want a 3pm screening…
not too early in the morning and not at the end of along cranky
day.) Congratulations, Mr. Silberling. You have proven that you deserve to be considered
in the top group of dramatic filmmakers working today.
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