SHE THOUGHT SHE WAS SUGGESTING SOME new concept to me, but I knew better. I was sure if I had been in the room before her she would have turned around and walked out after seeing me. She had done it before. I never said a word to anyone, but I felt she was rejecting me because to her I was old. When I walked into the classroom I saw some familiar faces who were participants in my yoga class; but then, I saw this one member was already seated on the floor on her yoga mat. I announced I was subbing for their instructor. This woman said nothing until after I went over what we would be doing in class that day. As I started to sit on the floor to begin our warmup poses, the woman asked if I could shut the lights off because the other instructor does it. This other instructor, by the way, was much younger than me; she only recently started teaching yoga. And in her class, she would shut the lights off, turn on a couple of battery-operated votive candles and play chimes periodically. When I told her, I would do it towards the end after observing how everyone was moving in class, she made one of those sounds associated with disgust, picked up her mat and walked out. TECHNICALLY, THIS MEMBER NEVER SAW ME teach class; she had to be rejecting me based on my appearance, it seemed to me. Though I can understand someone having reservations about trying a different instructor, I would not use appearance as a reason to reject a person. I have taught with other instructors who do not stereotypically look like a fitness person. They were not buff and had extra weight on their body; however, they taught a tough class. From my years of teaching fitness, I can put people into two separate groups: those that work out to look good and those who work out to feel good. Some members are predominately focused on their appearance; they are not interested in understanding how exercise is to be used for one’s quality of life. They think the more they sweat the better they will be and that is rarely the case. This group of people would be more likely to reject me simply because I have gray hair. I guess it goes with the territory, where people get judged either all or partially on their looks. Some lines of work can be tougher than others; that is why I understood what the main character was going through in this comedic drama. DURING THE LATE 60’S, HOLLYWOOD WAS going through changes: changes that would have a deep affect on actor Rick Dalton, played by Leonardo DiCaprio (The Great Gatsby, Titanic) and his stunt double Cliff Booth, played by Brad Pitt (Fury, Mr. & Mrs. Smith). It did not help that a new, young actress was living next door. With Margot Robbie (Suicide Squad, The Legend of Tarzan) as Sharon Tate, Austin Butler (The Dead Don’t Die, The Carrie Diaries-TV) as Tex and Al Pacino (Danny Collins, Dick Tracy) as Marvin Schwarzs; this film took a while to kick in for me. Clocking in at 2 hours and 39 minutes, there was nothing one could say negative about the acting. Leonardo, Brad and Margot were wonderful through the entire story. I enjoyed seeing the movie making scenes as they were only one aspect of the story. The script had a couple of main stories that slowly blended in together. With multiple cameo roles and a great soundtrack; I loved watching this film and felt time went by quickly once I got into the story. There were a couple of violent bloody scenes and there was a quick extra scene during the credits.
If you love somebody, let them go, for if they return, they were always yours. But what happens if they do not come back? Let me tell you what happens; the vacated space in your heart will become listless for a time. Your memories go through a transformation that softens the hard edges, like water continuously running through a forming canyon. There may be times where a particular memory morphs with fantasy to create a totally new experience. You believe what you are recalling even though it never really happened. Remember that time where the two of you were supposed to celebrate your anniversary but they could not get away from work? Though at the time you were upset, you now look back at it with fondness because they made it up to you with a spectacular day. Never mind they were never really at work but out with friends and just did not want to tell you. Now you can say what you want, but unless you work really hard on confronting, dealing and expunging your anger over your breakup; your anger will always find a way to come out. And it may happen in the most inappropriate of ways. I know about these things because anger used to be a close friend of mine. One time my bathtub got stopped up and for some reason I bought this plastic pump contraption. I tried putting it together to make it work, but it only frustrated me and I exploded with anger, taking a hammer to it until it was in a million pieces. Just like the character in this dramatic film. LOCKSMITH A. J. Manglehorn, played by Al Pacino (Danny Collins, The Godfather franchise), lived a quiet life with his cat. Well, quiet only when he was not breaking his furniture. What made this film festival nominee attractive to me was seeing Al Pacino teamed up with Holly Hunter (The Piano, Raising Arizona) playing bank teller Dawn. The two of them were wonderful and I wished they had more screen time together. This was the issue I had with this film; the story needed to spend more time on them, instead of spending time with A. J.’s son Jacob, played by Chris Messina (Vicky Cristina Barcelona, Argo). His scenes seemed to be filler for the story; though I knew they were trying to make a point about Manglehorn. It all came down to the script in my opinion. The directing was fine but without a strong script I was never fully invested in the story. To me it seemed like it was never really going anywhere until the very end. Who knows maybe down the road I will look back at this film and like it more than I really did.
2 1/4 stars
When one does not have the opportunity to form memories of someone, made-up ones have to suffice. The make-believe memories can be a kinder, gentler, more loving version of the real person. I have heard individuals carry on about someone they barely knew, painting the person in sweet coats of affection; whereas, my memories recall that person being somewhat mean and angry. Growing up there were some relatives I never got the chance to meet; I only had old photographs and other people’s stories to form any connection to the unknown family members. Whenever the mood struck, I would pull out these old photos and study the features and outfits of my relatives. There was one photograph where a bespectacled man dressed in a suit was standing with one foot up on what I thought was a big wooden block. He was holding up a violin as if he was giving it the once over before placing it on his shoulder to play. I would imagine he was practicing for a recital. He would perform in a garden, where the relatives would be seated all around as they listened to the rich deep notes of a concerto. Besides my imagination, any hearsay or tidbits about a relative I would incorporate into elaborate stories; turning some of them into heroes, gangsters, spies, or some other fanciful characters. Where my fake memories were about deceased people, there is a world of difference when the memories are based on someone who is still alive. INSPIRED by a true story, a letter written by John Lennon arrived 40 years late to singer/songwriter Danny Collins, played by Al Pacino (Righteous Kill, Scarface). Seeing the letter sparked Danny into seeking out Tom Donnelly, played by Bobby Cannavale (Blue Jasmine, Chef), the son he never knew. This comedic drama was driven by its outstanding cast. Al was perfect for this role; he not only looked the part but I was convinced he was this aging singer who was well past his glory days. Besides him and Bobby there was Christopher Plummer (The Sound of Music, A Beautiful Mind) as Frank Grubman and Annette Bening (Ruby Sparks, American Beauty) as Mary Sinclair. I thoroughly enjoyed the acting in this movie; it was believable and filled with great depth. Now I admit the script was somewhat predictable, besides being manipulative; but I did not care because I liked the way the story carried me throughout the film. There were even a couple of surprises along my journey. The dynamics between the characters were engaging; I was intrigued with their perceptions and memories. And after you see this picture I hope you too will have developed fond memories.
True friends are the bright lighthouses that help illuminate your life’s path. There to offer support, concern and love; friends are the safe keepers of one’s history. Part of my inner circle is made up of friends from my childhood. We may not see each other often; but when we do, our conversations do not miss a beat from our previous time together. With one friend, we leave each other daily voice messages on each other’s phones. Just to say hi and stay updated on daily events; this is how we keep track of each other. Like those friends you can have non-verbal conversations with, the relationship between friends Val and Doc was the highlight of this movie. Al Pacino (Scarface, The Merchant of Venice) and Christopher Walken (Seven Psychopaths, Hairspray) did a masterful job playing long time con men Val and Doc. Their looks, their pauses all contributed to a wonderful and believable performance. Being released after 28 years in prison, Val and Doc set off for one last night out on the town before Doc had to complete the job he was hired to do–kill Val. The two men spring their good friend Hirsch, played by Alan Arkin (Argo, Get Smart), from his retirement home and head out to adventure in a stolen car. The three actors made this crime film. I appreciated that the script was tailored to their ages instead of trying to portray them as younger action heroes, like some recent movies have done with their movie stars. The actors did their best with the script which I found muddled and loose. The story went with an easy sentimental value instead of tighter excitement; it took some time for the pace to pick up. Part crime and part comedy, the movie had an identity crises that could have been solved if the writers had given more to these aged to perfection actors.
2 1/2 stars