Both of these women — who I imagine to be the baddest, most feared women in the Theater District at one time or another — each mentioned how much they couldn’t stand to actually see a person act. Acting is supposed to look effortless, as though you’re not actually doing it.
Last week we saw Everything Must Go, starring the wonderfully hilarious Will Ferrell. And yes, he can act. Usually. However, this movie was clearly intended for a smaller-name actor, or someone who has more experience with small indie films, who is in tune with their inner-fine-actor. Will Ferrell is larger than life. He can make me laugh unlike no other. And I’ve seen him in more serious roles, and he’s fantastic. But, I think this is his most serious role yet — he plays a drop-down alcoholic who comes back from a business trip only to find his wife has left the house (after changing the locks), he can’t access any of his assets, his car was taken away, he’s lost his job, and all of his possessions are out on the lawn for everyone to see.
The story, I think was good, and the other actors’ performances were pretty good (including the Notorious B.I.G.’s son, Christopher Wallace Jr.!). But there were two things that bothered me overall:
1. The movie felt like it was pushing the audience away. There were moments that were fairly intimate, but there was something that felt like a cold distance was being placed between the film and the audience. When I watch a film, I think I want to feel more submerged into the scene, and this was not inviting enough for such a movie.
2. I think part of this was that Will Ferrell understood where this character was coming from, but there was a distance put up between him and his character. We could see him “contemplating” and “feeling” and “thinking” and “reacting” and “hurting.” It didn’t feel natural enough.
Otherwise, I actually really liked the story, and how it didn’t end so cookie-cutter sweet, and predictable. I mean, it’s a happy ending, but not too happy. It is an indie movie, after all.
Also, I <3 italics!
As an attempt to understand why I find actors so odd, I have started reading The Art of Acting by Stella Adler. After a few pages, I understood why actors are odd: they were taught by eccentric instructors like Stella Adler. But now, at chapter 3, I have a slightly better understanding of where she’s coming from. In the most basic sense, acting should be coming from an organic place, and in order for actors to become organic in vastly different situations, they have to build a vocabulary of “naturality,” if you will…