Yearly Archives: 2017

Paul Newman, 1925-2008

Paul Newman was a Hollywood legend who, let’s face it, deserved a whole post to himself.

Born in 1925 in Shaker Heights, Ohio, second son to Arthur and Theresa who ran a sporting goods store. His first role was at the age of 7; he played a court jester in a school production of Robin Hood. By 10 he was performing at the Cleveland Play 220px-Paul_Newman_1954.JPGHouse and was part of the Curtain Pullers children’s theatre program. He was briefly at Ohio University but war intervened (well, war, and the fact that he dented the president’s car with a beer keg). He enrolled at the Navy pilot training program at Yale but was kicked out when his colourblindness was discovered. He went on to serve in the Navy as a radioman and rear gunner. He likely would have died in the war but for the fact that on the day his unit was attacked and killed by a kamikaze pilot, his own pilot was grounded due to an ear infection. Back home, he completed his degree in drama and economics. He toured with summer stock theatre programs before putting in a year at the Yale School of Drama, which he ultimately left to go to NYC to study acting under Lee Strasberg at the famous Actors Studio.

He moved to Staten Island in 1951 with his first wife, Jackie Witte. He made his Broadway debut by 1953 in Picnic. His first credited role had come a year earlier, for a 1952 television episode of Tales of Tomorrow entitled “Ice From Space” which Paul-Newman-1112x1500obviously sounds like something I need to see. In 1954 he appeared in a screen test with James Dean for East of Eden, testing for the part of Aron Trask, the fraternal twin of Dean’s character, Cal. Dean won his part but Newman lost out to Richard Davalos. Even though it wasn’t successful, it would be fateful. That same year, Newman co-starred with Eva Marie Saint and Frank Sinatra in a live (and in colour!) television broadcast of Our Town – Newman was a last-minute replacement for none other than James Dean. Newman’s name would often come up for Dean’s roles. The roles of Billy the Kid in The Left Handed Gun and Rocky in Somebody Up There Likes Me were both ear-marked for Dean but went to Newman after James Dean died in a car crash. Although Newman’s first film for Hollywood was in 1954 for The Silver Chalice, it was a flop and he often talked about his dislike for it (he took out a full-page ad in a trade paper apologizing for it to anyone who might have seen it!). But just two years later Somebody Up There Likes Me was earning him acclaim and in 1958 he earned his first Oscar nomination, for Cat on a Hot Tin Roof. Also that year he starred in The Long, Hot  Summer with Joanne Woodward for which he won Best Actor at Cannes but perhaps more importantly, he won the heart of the woman he would love for the rest of his life.

Of course, Newman was still married at the time. He and Jackie had by this time had 3 kids: Scott, Stephanie, and Susan. Scott appeared in a few movies, including The Towering Inferno, but died in 1978 of a drug overdose. Newman started the Scott Newman Center for drug abuse prevention in his memory. Susan also stayed in the family business; she’s a documentary filmmaker with Broadway and movie credits – she had a starring role in the Beatles movie I Wanna Hold Your Hand, and had a small role oppose her dad in Slap Shot. But back to Woodward: they’d first met in 1953 but reconnected in ’57 on the set of The Long, Hot Summer. He divorced Jackie and married Joanne immediately. As glamourous as they were, they were among the first big Hollywood couples to move away from L.A.; they made their home in Westport, Connecticut. They stayed married for 50 years, until his death in 2008, and three daughters together, Elinor, Melissa, and Claire. Newman was of course famous for his devotion to his family, and you are undoubtedly familiar with his quip about his own fidelity: “Why go out for a hamburger when you have steak at home?”

In 1982, he and writer A. E. Hotchner founded Newman’s Own. It started with the salad dressing of course but the grand expanded to include pasta sauce, lemonade, wine, and more. But the most remarkable thing about the highly successful company is that Newman committed that all proceeds, after taxes, would be donated to charity. To date, the company has donated $500 million. Among the recipients of his philanthropy: protection for the first amendment; land conservation; religious 518ef81826479c420eb517da72e3ad1b1c7f16b0organizations; scholarships; theatre endeavors; a residential camp which he co-founded called Hole in the Wall Gang Camp, named for the gang in Butch Cassidy and the Sundance Kid naturally where 13 000 kids are served free of charge every year; and another of his bright ideas, the Committee Encouraging Corporate Philanthropy, which encourages CEOs of big companies to commit to charities – now responsible for $10 billion in corporate giving annually. Jeezum. So it’s not exactly surprising that Givingback.org would name him the Most Generous Celebrity of 2008; even since his death his foundations continue to generate good around the world.

Paul Newman was also a bit of a political activist. His support for Eugene McCarthy and his opposition to the Vietnam war meant he was #19 on Richard Nixon’s enemies list, which Newman often listed as his greatest accomplishment. Paul Newman supported gay rights, and gun control, and here’s a little factoid for you: he was at the very first Earth Day event, back in 1970.

Tireless, apparently, you may also remember that Paul Newman was a race car driver. He got into while training at the Watkins Glen Racing School for the film Winning, which came out in 1969. His first professional race was in 1972 at the Thompson International Speedway, where he entered as P.L. Newman, hoping not to attract Hollywood’s attention. He won four national championships at the Sports Car Club of America and came in 2nd at the 1979 24 Hours of Le Man, driving a Porsche 935. At the age of 70, he became the oldest driver to be part of a winning team in a major sanctioned race when he won at the 1995 24 Hours of Daytona; he would race in that again at the age of 80. The last work he ever did in Hollywood was to voice a race car named Doc in Pixar’s Cars; in fact, he’s received a credit for this year’s sequel, Cars 3, as well.

Paul Newman is one of only four actors ( with Laurence Olivier, Michael Caine, and Jack Nicholson) to have been nominated for an Academy Award in five different decades. 

1958: nominated for Best Actor for Cat On A Hot Tin Roof; lost to David Niven for Separate Tables

1961: nominated for Best Actor for The Hustler; lost to Maximilian Schell for Judgment at Nuremberg

1963: nominated for Best Actor for Hud; lost to Sidney Poitier for Lilies of the Field

1967: nominated for Best Actor for Cool Hand Luke; lost to Rod Steiger for In the Heat of the Night

1968: nominated for Best Picture for Rachel, Rachel, his directorial debut, which starred Joanne; he lost to John Woolf for Oliver!

1981: nominated for Best Actor for Absence of Malice; lost to Henry Fonda for On Golden Pond

1982: nominated for Best Actor for The Verdict; lost to Ben Kingsley for Gandhi

1986: WON Best Actor for The Color of Money

1994: nominated for Best Actor for Nobody’s Fool; lost to Tom Hanks for Forrest Gump

2002: nominated for Best Supporting Actor for Road to Perdition; lost to Chris Cooper for Adaptation

[Note: received an Honorary Award in 1986 for his “many and memorable and compelling screen performances” and the Jean Hersholt Humanitarian Award for his charity work in 1994.]

Paul Newman was known for his piercing blue eyes and his sense of humour. His likeness was the inspiration for the 1959 illustration of the Green Lantern. Early in his career he was often mistaken for Marlon Brando, and he obligingly signed autographs as him whenever asked. He was Jake Gyllenhaal’s godfather. When he lost $50 to Jackie Gleason in a pool game, he paid him in pennies. Turned down the lead role in Ben-Hur because he “didn’t have the legs to wear a tunic.” Turned down Dirty Harry for being “too right-wing.” Was in an epic, years-long prank war with Robert Redford. He could play blues and jazz piano. He’s been on a US postage stamp. Although Paul Newman was the actor other actors looked up to, he was also a man of many diverse interests.

Paul Newman died of lung cancer in September 2008, with family by his side.

NHFF 2017: An Exceptional Year for Documentaries (Part 1)

Last year, the New Hampshire Film Festival was as swept up in the 2016 election drama as I was. They featured an impressive selection of politically themed documentaries and even hosted a standing-room only panel discussion on Politics in Film. I couldn’t get enough last year and took in as much of it as I could.

The documentary selection this year was noticeably less overtly political, presumably because the NHFF is as burnt out on American politics as I am at this point. Still, in keeping with tradition, the New Hampshire Film Festival remains the one time of year that I favour documentaries. The four docs I saw this year have very little in common in either subject or structure but are all challenging and depressing in their own way.

sacred cod

Sacred Cod: The Fight for a New England Tradition– Due to climate change and overfishing, the cod population in the Gulf of Maine has been dwindling like never before. As a result, fishing communities in New England that have thrived for generations are now struggling as many are forced to sell their boats.

Far from being just another climate change documentary, Sacred Cod focuses instead on the people who are affected by federal government restrictions that severely limit the number of cod that they can catch. To many of them, it feels like government over-regulation is costing them not just their livelihood but their way of life and proud community traditions. Some even doubt the science that the government is citing, given that you can still cherry pick areas that are still rich with cod.

Of the documentaries I saw at the festival, Sacred Cod is the most traditional in style but is exceptional in its compassion. The decreasing cod population and the necessity of government intervention is indisputable at this point and directors Steve Liss, Andy Laub, and David Abel know it but they show as much empathy to those affected by the quotas as they do commitment to the facts.

the reagan show

The Reagan Show– “So, what is a Canadian doing in New Hampshire watching a documentary about our greatest president?”. A young guy I met in line asked me this before The Reagan Show and I have no idea whether he was being sarcastic or not about that last part.

Nor can I tell you with any confidence what the filmmakers behind The Reagan Show thought of America’s 40th president. There are no narrators or even original interviews with which they can betray their political biases. They rely exclusively on footage from the White House archives and TV news segments to tell their story. Specifically, they’re focused on the story of how Reagan exceeded the expectations of most critics in his arms race negotiations with then Soviet Union President Mikhail Gorbachev.

If The Reagan Show has a point of view, it’s that Reagan was the first President to really understand television and how to play to the cameras in shaping the public’s perception of him. As far as politics goes, your own point of view will likely be challenged. I went in with an anti-Reagan bias and found that point of view challenged just as I’m sure the Reagan enthusiast I talked to earlier had his challenged too.

Woodshock

In the wake of her mother’s death, Theresa’s grief manifests itself in complicated ways. Her fragile emotional state is pushed off a cliff thanks to some powerful drugs she can’t help but mess with. The result? A film that is haunting, surreal, and hypnotic.

Brought to you by first time directors Kate and Laura Mulleavy, whose names  you may be more familiar with as the sisters behind the clothing and fashion accessories _DSC8956R3label, Rodarte. They’re not the only designers to make the leap to film: Tom Ford made the jump rather successfully not to mention stylishly with A Single Man, and Nocturnal Animals. As for the Mulleavy effort, I’m less convinced. In parts it is absolutely stunning to look at, and they certainly have an eye for what lingerie will best highlight the nipples of the film’s star, Kirsten Dunst. But it’s not quite enough, and perhaps not enough by a long shot.

I will give them this: they create a dreamy, half-conscious state where we’re not entirely sure what’s ‘real’ and what isn’t. The mood is heavy and stays that way. Woodshock is visually assured but that’s the only assurance you’ll get. Everything else is a negotiation game you’ll have to play with yourself, because neither the film nor the filmmakers (some of whom were in attendance at its New Hampshire Film Festival screening) are providing answers or even clues.

The story is as gauzy and ethereal as Rodarte’s 2018 spring collection. Woodshock is high on visual impact but the plot, which probably is a misnomer here, is more like aKIM_0049 series of impressions – you get whiffs of what might be going on, and if you’re nose is good and you’re super motivated, you might even convince yourself the story has bones. But if you’re the kind of movie-goer who likes things like Neon Demon where themes are explored and drama runs high if not in any specific direction, you might count yourself a fan of Woodshock. Crazier things have happened.

Marjorie Prime

In the future, grief will be obsolete. If you are missing your partner of 50 years, all you’ll have to do is invest in a good hologram, tell it some personal stories, and all of a sudden you’ll have a spouse 2.0 sitting on your plastic-encased sofa, reminiscing about all the good times you shared. Is it a little creepy? Depends who you ask. Certainly when elderly Marjorie (Lois Smith) chooses to see her departed husband Walter as the handsome, middle-aged man she first met (Jon Hamm), her daughter Tess (Geena Davis) thinks it’s a little weird. Tess doesn’t want anything to do with her hologram Daddy but Marjorie is quite enamoured with him.

screen-shot-2016-09-12-at-7-29-47-pmThe film makes you think about memory, and what that means, and how it is shared, and if it is real. And it makes you think about humanity and what makes us truly ourselves, and if we can separate ourselves from memory, or if indeed that’s all we are is our memories. And it makes you think about love: can it be recreated, does it live on after death, does it exist independently outside a couple, is it found in the details or does it truly live in our hearts? So if you’re in the mood for a talky, thinky piece with very little action, Marjorie Prime may just be the film for you. Based on a play, most of the film takes place within just one room. But within that room, the acting is superb. Lois Smith is a phenom. Jon Hamm, Geena Davis, and Tim Robbins orbit around her, fueling her sun.

The movie feels haunting and intriguing, and maybe it isn’t fair to say this, but it raises such interesting ethics that I almost wanted more from it, more cud to chew on. At times the film feels a little redundant: you have to feed the hologram in order to make it more believable, more “real.” But no matter how many perspectives you feed it, it will always be missing its own. These “primes” strikes me as an excellent opportunity for Sean to finally construct a Jay he’s always dreamed of: one that doesn’t talk back, who doesn’t know sarcasm, who doesn’t remember the time he told a naughty story about her in front of his mother. But the thing is, if Sean invested in this Jay Prime because he missed her, what good would she be if she didn’t roll her eyes at him?

Even with its faults, I enjoyed Marjorie Prime, for the watching and the thinking it inspired afterward. Watch it, and tell us what you think: would you be comforted by a hologram of your mother or your spouse or even your dead dog?

Autumn Dreams

The fall harvest complete, farmer’s daughter Anabelle elopes with hired hand Ben, and she does it without parental consent which means she must be 18 rather than the 13 she looks. But her father screeches up to the chapel in his antique pickup truck and orders an immediate annulment. Ben, a good guy, “understands.”

Cut to 15 years later: Anabelle runs the farm now – heck, she’s up to her elbows in farming, which is what prohibits her from wearing her engagement ring from Joe. She MV5BM2M5MzYwYTctMWUzNC00MGU0LWIyNTUtMTA4ZDlhNmU1MjAxXkEyXkFqcGdeQXVyMzQ2MzE5ODA@._V1_SX1499_CR0,0,1499,999_AL_and Ben haven’t seen each other since their unconsummated wedding night. But just as she’s agreeing to marry Joe in one month’s time, she gets big city divorce papers. Wahhh? Oh that’s right, there was a clerical error and it turn out she and Ben are still technically married. So she lies to her fiance, or, lies more to him, and flies to NYC where she gets into various big city hi-jinks such as: elevators! bumping into people! the lack of roosters!

Turns out Ben is getting married even sooner than she is – this Saturday! In the courtroom, however, it seems there are some unresolved resentments, and a lady judge is a real hardass about granting divorces so bingo bango they’ve got a whole week to NOT fall in love all over again.

Autumn Dreams is 80% stock footage and 20% painfully predictable plot points. The things the writer failed to research include but are not limited to: research itself, crops, stocks, courtrooms, chauffeurs, New York City, food trucks, anything and everything to do with the law, grants, farming in general, life in general. It’s not even that autumnal, if truth be told, and that might be its greatest mistake of all. If you’re looking for some real fall coziness, I can’t believe I’m saying this, but October Kiss is like a chunky sweater to Autumn Dreams’ ratty tshirt.

 

The Archer

Lauren is a nice kid, a good student, a champion archer whose post-medal celebrations turn sour and result in her arrest. The judge has all the reasons in the world to go easy on this first-time offender, not to mention the extenuating circumstances that all but exonerate her, but instead he throws the book at her. Off she goes to an open-ended sentence at a “reform school” that looks and feels a lot more like a sadistic prison.

There she finds dozens of girls just like herself, imprisoned for very minor offenses. But it’s their jailers that cause the most concern: there are no checks on their behaviour. They can get anyway with anything, and do. But the cruelty, humiliation, MV5BNDU1ZWYyN2UtNGY5MS00NjE2LTk1N2ItNGE5MDcxZmEzMTY3XkEyXkFqcGdeQXVyNDM4NTU5Njc@._V1_SX1776_CR0,0,1776,778_AL_and sexual perversion isn’t just for kicks, it’s also serving a purpose. Because every time a girl fights back, her sentence is extended. And that’s very good news when you’re running a corrupt, for-profit scheme.

So one day Lauren (Bailey Noble) and her new friend Rebecca (Jeanine Mason) decide to make a break for it. No one has ever escaped successfully, but desperation drives their attempt. But to protect the prison’s ugly secrets, its warden will literally hunt them like animals to make sure he doesn’t get exposed.

This film has an incredibly strong female in its lead, and Noble was the perfect choice to play her. She’s got grit and determination but we still believe her as a somewhat naive high school student. Their flight into hills is tense and taut film making, and though the prisoner on the run thing’s been done before, this one is a fresh enough take to grab and hold your attention.

The Archer is inspired by the 2011 conviction of two judges in Pennsylvania when a federal investigation uncovered millions of dollars in kickbacks for their sentencing teenagers to a for-profit youth detention centre.

Civil Rights & The Cinema

Viola Desmond’s name may not be as well-known as Rosa Parks’, but she took her stand against segregation nearly a decade before Parks refused to give up her seat on the bus.

Viola Davis was born in 1914, one of ten children to a white mother and black father in Halifax, Nova Scotia. Growing up, she noticed an absence of hair and skin-care CNSPhoto-PARDONoptions for women of colour and decided she would be the woman to correct this. But her skin colour prevented her from beautician training at home, so she went off to Montreal and then to New York to complete her education. Returning to Halifax, she opened her own hair salon, where she would tend to a young Gwen Jenkins, later to be the first black nurse in Nova Scotia. And she didn’t stop there. She went on to found The Desmond School of Beauty Culture so black women could train closer to home. Students were taught how to open their own businesses, providing jobs for other black women in their communities. Then she started her own line of beauty products, Vi’s Beauty Products, which she sold herself.

It was on just such a work trip when she found herself in New Glasgow, Nova Scotia, in 1946. Her car had broken down and was going to be in the shop overnight, so to kill time she went to see The Dark Mirror at the Roseland Film Theatre. At the box office, she asked for a main floor ticket and then took her seat, only to be told by the manager she did not have a ticket for that seat. She went back to the ticket booth but they refused to sell her a different ticket, claiming it was against their policiy to to sell a main floor seat to a black person. Desmond returned to her original seat with her original ticket, refusing to sit in the balcony designated for black patrons. She was forcibly removed from the theatre, arrested with enough violence to cause injury to her hip. She was jailed overnight without access to a lawyer or bail.

This was a private movie theatre and its segregation practises went against the law in Nova Scotia so Desmond was actually charged with tax evasion, believe it or not, for the one-cent difference in tax between the slightly cheaper balcony ticket she was sold and the main floor seat she actually occupied. One cent. She was fined $20 plus $6 in court costs; she paid and went home to Halifax. But her Minister really didn’t like how things went, and encouraged her to fight the charge. Carrie Best broke the story in Nova Scotia’s first black-owned and published newspaper, The Clarion. Best had previously written about The Roseland Theatre and was happy to take up the cause. So too was Desmond’s Baptist church and the Nova Scotia Association for the Advancement of Coloured People. Sadly, her lawyer made some bad decisions and they ultimately lost the case.

In 2010, Mayann Francis, the Lieutenant Governor of Nova Scotia, invoked the Royal Prerogative to grant Desmond a posthumous free pardon – the first to be granted in Canada. It’s different from a regular pardon because it is based on innocence and recognizes that the conviction was in error. Francis was emotional as she signed the document: “”Here I am, 64 years later – a black woman giving freedom to another black woman.” The government of Nova Scotia followed up with an apology, acknowledging she was rightfully resisting racial discrimination.

So that’s how one small act of defiance in a rural movie theatre galvanized the Canadian civil rights movement, and it’s why Ms. Desmond will be featured on Canadian currency next year when her face graces our $10 bill. Thank you, Viola Desmond.

Twilight Dancers (2017)

Far too often, an indigenous community makes the news because it’s dealing with a suicide epidemic. Cross Lake, Manitoba is one such community. In 2016 there were 140 suicide attempts in Cross Lake within a two week period. Six people were successful. Those staggering numbers are even more devastating when you consider that the population of Cross Lake is about 5,000 people total. Afterwards, the community was left to try to pick up the pieces.

One way through the pain was dance. The Twilight Dancers are a dance troupe from Cross Lake, and this documentary short follows its members as they compete in the 2017 Cross Lake Trappers Festival. The closeness of the community is obvious from the start. Every one of these young people has been affected by last year’s suicides, in one way or another. Bullying and social media are frequently cited as the causes, to which I am sure we can all relate.

Dancing is not an obvious solution to this type of crisis on reserve, particularly square dancing (which, as several of the kids point out, came from white people). But it clearly works. These dancers are survivors, they are talented, they are dedicated, and they are spreading joy to their audience as they chase a championship. Their positivity through tragedy is inspiring.

The Twilight Dancers show us what it means to never give up, and I am glad to have heard their story.

24 Snow

We encountered all kinds of interesting documentaries at the Planet in Focus film festival, but I’m admitting a soft spot for 24 Snow.

I have a passion for documentaries anyway. A camera can actually be a transportation device, carrying us away to a world that looks and feels entirely different from our own. Sometimes the lens looks upon a piece of fiction that’s been created to jar your senses (like Blade Runner 2049), other times it encourages you to take a second look at something that’s quite familiar (like The Florida Project), but documentaries can do both while actually reflecting real life back at you.

24 Snow isn’t fiction but it definitely felt foreign to me, and its foreignness informed me on a world I knew little about. With this documentary, we travel to the Siberian Russian territory of Yakutia. I didn’t know there were Russian Inuits, yet there they MV5BOGRkMDk5NjctMmMwZC00YjUxLWExM2QtZDdlY2Y5MzcyZjIzXkEyXkFqcGdeQXVyNTA3MzMxMTg@._V1_SX1777_CR0,0,1777,999_AL_were, surviving in that beautiful but frigid (-70C) land. We are introduced to one main in particular: Sergei is a horse breeder, and even his horses will look strange to you. The Yakutian horse has of course evolved to weather the icy temperatures. They are small but sturdy animals, with shaggy coats that hopefully keep them warm. Their thick hair and manes are not unlike those of Shetland ponies but when you see one completely coated in ice, you know you’re in unfamiliar territory. The breeders de-ice the horses the way I de-ice my windshield. It’s a way of life I can’t really comprehend: solitary, isolated. No telephone, no electricity. No cash. No cars (none that can run you through ice and snow anyway – sleds get the job done).

These harsh conditions are a real test of one’s limits and it’s interesting to get to know the kind of person this job attracts. I live in Canada and am not unfamiliar with snowy, even permafrosted terrain, but the Yakutia is something else entirely. It’s stunning if you can separate it from its harshness, and the lush cinematography here certainly helps. The people and beasts of 24 Snow completely captivated me; it’s a fascinating documentary by Mikhail Barynin that’s as informative as it is beautiful.

Breathe

Breathe is the directorial debut of motion-capture artist Andy Serkis, and if there was any justice in this world, it would be his last. [there isn’t: he’s already got a live-action Jungle Book slated next – but at least he seems uniquely qualified for that]

It’s the based-on-a-true-story of Robin and Diana Cavendish, an adventurous, fun-loving couple who are brought low when Robin (Andrew Garfield) is suddenly and irrevocably paralyzed by polio. He wants to die, but she wants their unborn son to know him, so they compromise: she springs him from the hospital, and he does his best to stop being so gosh darn glum. He’s the first of his kind to live away from a hospital setting, and it’s thanks to the devotion of his wife (Claire Foy) and the ingenuity of a friend (Hugh Bonneville) that he’s able to do more than just survive.

So yes, there’s an inspiring story in there somewhere. This is Andrew Garfield’s most hero_Breathe-TIFF-2017Eddie Redmayne role yet, but he can’t quite live up to those man-in-chair heights. As his character is paralyzed from the neck down, all he has to use is his face, and of course he overuses it. I liked Foy’s performance a lot better than Garfield’s. He came off as grating; Sean called it nearly unbearable. But he’s far from the only problem with the movie. First, the script is cloying, predictable, and overly sentimental. It’s an emotional predator, designed to wring tears from your face. I refused to comply. It hits the all-too familiar beats of a biopic and doesn’t stray once from conventional story-telling. But Andy Serkis’s direction does stray from the norm, and from the tolerable. It’s shot in an ultrawide aspect ratio that I hated. I felt like I was watching a skinny rectangle at best, but often felt as though I was viewing the movie through a fishbowl. Serkis’ angles are often weird, and not quirky weird, but uncomfortable and off-putting. But I suppose the worst crimes against this little against-all-odds love story is that Serkis rushes through the prologue, the courtship, the thing that should make us understand why this guy deserves so much devotion, why their love is so strong that she’s willing to wipe his shitty bum and go without sex for the rest of her life in order to keep a suicidal man alive. It’s a crap life for her. I’m not saying it’s not worth it, just that it’s always going to be difficult. And I realized that though there are seemingly lots of movies about men being tended by loyal wives, the same is not true in reverse. Husbands cut and run. So really the movie’s most interesting character is Diana, and we know little about her. We don’t see any of her struggles or her inner life. In fact, for Breathe’s 117 minute runtime, I’m not sure we got to know anyone particularly well in this movie. And that’s really too bad.