Review: Three Billboards Outside Ebbing, Missouri (Spoiler Heavy!!!!) A Lesson in Moral Complexity

 

 

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Mildred Hayes, played by Francis McDormand, standing with the billboards

 

Three Billboards Outside Ebbing, Missouri is Martin McDonagh’s latest home run film. It follows up the masterpiece that is In Bruges by deftly blending dark comedy and dark drama. Featuring one of the most outstanding ensemble casts in recent memory, Three Billboards educates the viewer on how hate can affect one’s life.

The story follows Mildred Hayes, a mother who is dead-set on finding the men who raped and killed her daughter, Angela Hayes. To rile up attention for the case, which has gone on for seven months, Mildred rents three billboards on an unfrequented road and prints the messages: “How Come, Chief Willoughby?”, “And Still No Arrests?”, and “Raped While Dying”. The billboards serve as powerful iconography, especially since they’re really all the information we have about what happened to Mildred’s daughter. We never see the violent act of her death actually happen, and her presence is rarely felt throughout the film. McDonagh conveys the horrific nature of the crime through the ominous presence of the billboards. The camera pans out of order to show the first billboard “Raped While Dying” last in order to create a bigger shock value amongst the audience. Though the boards aren’t very high or very large, they are first seen through low angle shots which gives them a monumental perspective. The backgrounds of the boards are bright red with black text, which are not only eye-catching but also splash the film early with the color of blood. And so, the limited information combined with a showcase of how determined she is to find her daughter’s killer creates an immediate understanding and sympathy for Mildred. Despite all of the harsh or misguided actions she carries out in the film, there is always an element of forgiveness at play for the audience in knowing her pain and suffering. In fact, pain and suffering are factors associated with many of the characters in the film.

 

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Woody Harrelson’s Chief Willoughby has a conversation with Mildred

 

The billboards draw negative attention toward Chief Willoughby, played by Woody Harrelson, who is a respected officer within the community. Willoughby happens to also be dying of cancer. His relationship with Mildred isn’t antagonistic, and the viewer is made aware that he hasn’t been intentionally neglecting the case, however, Mildred is unflinching in her decision to keep the billboards. In a conversation with Willoughby, Mildred claims that all the men in the country should be put in a database and investigated whenever they’ve committed a crime. It’s clearly preposterous, yet you understand that Mildred wants to see more action from the police department. Her position stands unaltered even with Willoughby’s condition in consideration. To add another piece to the puzzle, Willoughby’s fellow officer, Jason Dixon, played by Sam Rockwell, is an apparent racist and all-around douchebag. He consistently tries to find ways to pressure Mildred into taking down the billboards. The first half of the film serves as an effective look at conflict where both sides have sympathy. There is sympathy for Mildred, played wonderfully by Francis McDormand, as she stands her ground on her daughter’s case. There is also sympathy for Chief Willoughby, who is conscious that his time with his wife and kids is dwindling. Woody Harrelson captures the pain, compassion, and love that embodies Chief Willoughby. In fact, as he appears to be the only one of the three central characters living without hate, his role transitions from an active character to more of an arbiter of wisdom. In a shocking twist, Chief Willoughby shoots himself in the head after spending one last day with his wife and children. In a letter, he explains that he would rather avoid his family having to see him slowly suffer and wither away in a hospital bed. His suicide is advocated by him as an act of bravery, and it shifts the film’s focus towards the redemption arc of Sam Rockwell’s character.

 

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Dixon, played by Sam Rockwell, confronts Mildred

 

Upon Willoughby’s death, Dixon initially reacts by senselessly beating Red Welby-who rented Mildred the billboards-and throwing him out of a window. When Dixon gets fired for his actions by the new chief, his character seems to be headed towards a downward spiral of potential villainy. When the billboards are burned down, he seems to be a likely suspect. However, when Mildred retaliates by burning down the police station with, Dixon unbeknownst to her, still inside, it creates a symbolic moment where Dixon reads a letter from Willoughby while oblivious of the fires burning behind him. Willoughby’s letter urges him to let go of his anger and the pain in his past and instead work towards becoming a good police officer. When Dixon plunges through the flames with Angela Hayes’s case file, it’s as if the singes and burns on his body become a literal embodiment of his bad self, which he will always carry with him. In one of the best moments of the film, Dixon ends up in the same hospital room as Red Welby, the same guy he threw out of a window. He apologizes, and in a poignant scene, the initially upset Welby pours a glass of orange juice for Dixon, providing him with a token of forgiveness. From then on, Dixon tracks down a suspected rapist, gets beaten within an inch of his life in order to get the suspect’s DNA, and notifies Mildred that the suspect may be “the guy”.  When word comes in that the suspect, though a rapist, is not the same man as Angela’s killer, Mildred assures Dixon that the hope that he had given her was more than she had had in a month. She concludes that it was better to have that feeling of hope-however fleeting it is-than have nothing. The efforts that Dixon had made to find her daughter’s killer were the kind of efforts that she wanted out of the police. In the film’s resolution, when Dixon and Mildred decide to go after the confirmed racist, they debate whether it is worth it to take his life and ultimately agree to decide on the way to confront him.

 

The film ends ambiguously as to whether Dixon and Mildred decide to kill the rapist. In the end, it’s not about justice, or vengeance, or even finding the killer. It’s not even a story about learning to let go of hate and embrace love.  It’s learning to live with hate, learning to temper it and not let it consume you. Mildred will always carry hate in her heart, what happened to her daughter will always stay with her and keep the coals burning in the furnace of her heart. She’s unhinged, aggressive, and a danger to everyone around her. Dixon is still that racist asshole, just a more focused asshole, with a clear perspective on his goals of being a detective. Feelings of racism don’t just magically go away. Neither of them are heroes, neither of them are villains. They simply have more clarity in their goals, they are aware of their hatred, aware that they will always carry it with them. They’ve developed moral codes. Keep in mind, moral codes don’t necessarily mean righteous codes, they mean codes that a character follows and doesn’t break, good or bad. Their codes are also still developing much like everyone’s are, as they haven’t decided whether to take the life of the scapegoat racist. Even characters like Willoughby aren’t necessarily martyrs, since the act of suicide is generally considered a coward’s way out rather than the brave act that Willoughby feels it is.

 

The morals of each character are identified by the actions they undertake in the film: Willoughby’s suicide, Mildred’s arson, Dixon’s “redemption” (All Oscar-worthy performances by the way). Each character no matter how small has a moment of sympathy or relatability. Red Welby, played by Caleb Landry Jones has his moment when he hands Dixon the orange juice, and Peter Dinklage has a small surprise role as James, a car salesman attracted to Mildred. When Mildred botches the dinner with James, he goes into a rant of how he knows his position as a dwarf and how he’ll never be a “huge catch”, yet his stature and demeanor still outshine Mildred’s rage and foul temperament. Three Billboards, like In Bruges, is a character study. It doesn’t focus on finding mysteries or on Mildred finding inner peace. Three Billboards is about the effect of an unforgettable tragedy, and one mother’s response to that tragedy, on the lives of our characters. The story teaches that people are not perfect, and no matter how righteous the cause or effort, everyone has a point of darkness in their heart, or a different perspective that goes against the generally expected code of society. Even after being burnt down, the billboards are put up again. They stand just as the hatred in Mildred’s heart still stands.

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Director Martin McDonagh

 

When asked by Variety about the character of Dixon, McDonagh claims, “At the end he’s still the asshole he was at the start of the film, but hopefully by the end of it he’s seen that he needs to change. But the film isn’t about simple heroes and villains, and in no way does he become a hero in it. Part of the whole idea of the story is, ‘Who are the heroes and who are the villains and is anyone really that heroic?’ I wanted to explore the idea of a strong woman going against the police in the South, and I think the racial angle is one of the weapons she would throw at them. But the idea that there’s hope in a story like this, even with characters as despicable as Sam’s, I thought that was an interesting thing to explore.”

 

 

 

 

 

 

 

 

MiniBlog: Good Character or Good Actor?

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One of the interesting aspects of film that I’ve noticed recently is that although good writing and good acting are two very different things, it is possible for good acting to overshadow good writing. Sometimes I’ll watch a movie and think to myself, were the characters good or was the acting just good enough to make the characters seem good? There are a few examples of this happening, the most recent being Cate Blanchett in Thor: Ragnorak. In the movie, Blanchett plays the main villain Hela, Thor’s evil older sister. Though Hela has been regarded as one of the more deliciously evil Marvel villains, when you really think about the development of the character, Hela falls flat as a compelling villain. Very little is established about the importance of her familial relationship to Thor, yes she does bring up the subject every now and then, but at the end of the day, she’s just another bad guy for Thor to defeat. There’s no bargaining, no internal conflict, Thor isn’t affected in any way by their relationship as siblings. She’s also given very little background and is simply depicted as the evil sister that likes war and wants to conquer things. What makes the role compelling in any way is Blanchett’s performance. She portrays Hela as a war monger that delights in the death and destruction that she leaves in her wake. If her character isn’t well developed, it is at least a joy to watch, and that may lead people to believe that it makes her a good villain. If the actor on the screen portraying the character is compelling, it doesn’t automatically make the character compelling though it may seem that way.

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Some other examples lie in many Christopher Nolan movies. Nolan, being a very big picture, narrative-driven, overarching story and plot kind of filmmaker, doesn’t spend too much time developing his characters. The story around the main characters often propels them towards much more interesting character moments. In films like Interstellar and Inception, the characters themselves are often simplistic and understated. In fact, both Interstellar and Inception deal with a single dad trying to pull off a near-impossible mission and get back to their kids. What makes us connect with Nolan’s characters are the actors that he hires to play them. In Inception, Cobb may not be as interesting a character if it weren’t for powerhouse actor Leonardo DiCaprio playing him. The philosophical lines and speeches spouted by the characters wouldn’t be as appealing if it weren’t Gary Oldman or Morgan Freeman executing them with pure eloquence. Now, not to say that Nolan or his screenwriters write bad dialogue or characters, they simply do not develop them as strongly as say Martin Scorsese’s The Departed or Frank Darabont’s The Shawshank Redemption. Take a look at these films again and really consider the depth of these characters. What do you know about them? What can you say about them in the end? I think you’ll find that the importance of the performance plays a big part in how we perceive characters, and in some cases, an underwritten character can be highlighted and improved by a great actor.

 

The Disaster Artist Review (Spoilers!): An Unconventional Inspiration

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The Disaster Artist, directed by James Franco is a funny, dramatic, and oddly inspiring film about the legend behind the greatest worst movie of all time. It manages to strike a balance between an objective retelling of one individual’s crazy life while also managing to be relatable. Based on the making of the 2003 film, The Room, The Disaster Artist follows Greg Sestero, a young actor, as he meets the enigmatic Tommy Wiseau. Wiseau, played brilliantly by James Franco himself, is a cornucopia of mystery. Though he claims to be from New Orleans, he is very clearly of European descent; though he appears to be in his 20’s during the making of the film, he is clearly at least in his 40’s; and to top it all off, he has a “bottomless pit” of cash which was used to fund The Room ($6 million estimated) though no one knows how he got it.

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The film begins with Greg, played by Dave Franco, meeting Tommy at a comedy class where the two strike up an unlikely friendship. Greg asks to “do a scene” with Tommy, leading to a particularly memorable diner scene where Greg shares his fear of getting laughed at by audiences. Tommy bursts Greg’s bubble by having the two of them shout lines from a play in front of the customers in the diner. It’s a hilarious moment that also highlights the necessity to be bold and forthright. Tommy even tells Greg, “Don’t worry about these people! There only you and there only me! “.

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Eventually, Greg moves to Los Angeles with Tommy and they both start their acting careers, which unfortunately doesn’t go well for them. Tommy has a particularly hard time when he confronts a Hollywood producer played by Judd Apatow. The genius of Franco’s performance is that Tommy is portrayed as both sympathetic and unhinged. He acts brazenly and loud in front of the producer, however, you still feel for him when he is insulted and told he will never be successful. When Greg and Tommy decide to make their own movie, it comes off as a statement of resolve and perseverance. Despite what everyone tells Tommy, his determination to express his weird creative persona to the world overpowers the Hollywood system that is rejecting him, and he wouldn’t have been able to do it had he not had Greg along to motivate him. As an audience member, you truly understand the shift in Tommy’s life as he goes from isolated weirdo to aspiring artist with Greg at his side. It should strike a chord with any ambitious artists when Tommy is writing the script for The Room. Despite the fact that you know the end result will be terrible, you can see the determination and hope as he partakes in the creative process.

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Once the filming of The Room begins, the film adjusts to a more objective, behind the scenes, point-of-view second act. It’s clear that Tommy truly doesn’t know what he is doing as he makes ridiculous and costly decisions like shooting the movie in both digital and film, installing his own director’s bathroom on the set, and even recreating a fake alleyway set right next to an actual alleyway in order to have “real Hollywood movie”. Not only is he shown as irresponsible, he is also neurotic and downright vicious at times. He films the cast members secretly and tells the actress playing the female lead role of Lisa that her body is “disgusting”. There are fights with the cast, people passing out from heat exhaustion because Tommy doesn’t pay for A/C, and Greg being forced to pass on career building roles. Eventually, Tommy fires everyone and hires a low budget crew which leads to a falling out between Tommy and Greg. This entire second act reveals a different side of Tommy as the sociopathic, ill-mannered director. You still understand that he is ignorant of the true nature of his actions. You know that he has good intentions yet you are horrified at his behavior. Though this should conflict with the film’s overall message of following your dreams no matter what, it somehow works as a necessary observation on the struggles of trying to execute your vision to perfection, which is yet another part of the creative process.

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The film’s final act culminates in the premiere of The Room at Los Angeles’s Laemmle Theatre. Greg reluctantly agrees to go with Tommy and they arrive in a white limo, greeted by the film’s cast and crew. The reenacted scenes of The Room are uncanny, even though they have been recreated by the new actors, a few scenes feel as if they’ve come straight from the DVD of the original. It’s also heartbreaking to see Tommy realize that everyone is laughing at the film rather than praising it as the dramatic masterpiece that he sees. We get another poignant moment when he leaves the theatre and is convinced by Greg that despite the fact that people didn’t see what he saw in the film, there is no doubt that they have found enjoyment in it and that Tommy has accomplished his goal of making his own movie. The epilogue of the movie describes the continued partnership of Tommy Wiseau and Greg Sestero and the perpetual success of The Room since its inception.

 

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HOLLYWOOD, CA – NOVEMBER 12: Tommy Wiseau attends the screening of “The Disaster Artist” at AFI FEST 2017 Presented By Audi at TCL Chinese Theatre on November 12, 2017 in Hollywood, California. (Photo by Neilson Barnard/Getty Images)

One of the main reasons The Disaster Artist works so well as a biographical comedy is the simplicity of its message. Everyone has probably heard the motivational phrases: always following your dreams, don’t worry about what anyone else thinks. The way The Disaster Artist stands out from the rest of the pack is by showing you a real-life example of how these lessons allowed a socially maladjusted person like Tommy Wiseau to become a world-renowned icon. It’s an unconventional story, but you can see how Wiseau was fearless in his pursuit of his goal. The absurdity of Tommy and Greg’s success ignites a spark of hope in all who view this film as a reminder that no matter how bad or how good your own creative ideas are, if you are willing to go the distance and put yourself out there, there is always a chance that your vision will catch on and offer something unique to the world even if the world doesn’t see your vision the same way you do.