I am inclined to describe Sofia Coppola’s Somewhere—her tediously artsy depiction of a bored movie star—as self-indulgent, but that would suggest there are pleasures to be found in the movie, even if only by the director. There are no pleasures though. This is a movie of long takes, simply framed and static shots, very little dialogue, and even less narrative. In short, nothing really happens. The film’s austerity would suggest an ascetic quality, but, again, it is too idle to be truly ascetic. Perhaps boring is the only description I can firmly attach to the film.
Indulging in restraint, Coppola has pushed her minimalism—which worked perfectly in her Tokyo-set travel drama Lost in Translation (2003)—past its limit to the point of tedium. The resulting film is sterile, empty, and vague. The few things Coppola does well here, she already did better in her previous work. Marie Antoinette (2006) was a much more entertaining, biting, and involving depiction of the emptiness of the idle rich (even if it left me otherwise unsatisfied). Disconnection and boredom were more deeply and thoroughly explored in Lost in Translation, thanks in part to Bill Murray. Bill Murray’s weary, almost blank face is a thousand times more interesting than Stephen Dorff’s wearisome blank face. We can’t lay too much blame on Dorff though. He’s given nothing to do but stare. We also just stare, mostly at Dorff, but sometimes we get to stare at what Dorff is staring at.
The only time the film really says something is during the overtly meaningful opening and final scenes. At the beginning of the film our weary hedonist movie star, Johnny Marco (Dorff), literally drives in circles for a few minutes, off and then back onto the screen, again and again, in one long, stationary shot. At the end, he drives his Ferrari for a while down highways and country roads only to finally stop, get out of his car, and walk decisively forward. These moments play not like the brilliant touches of a talented director (like the whisper at the end of Lost in Translation), but like basic narrative and thematic techniques taught early on in film school (not my thought: a coworker cautioned me about the beginning/ending prior to watching). The beginning and ending are more interestingly read in relation to Sofia Coppola’s own career, for sadly she is not marching forward with each new film. She’s just going in circles.
4 out of 10
Somewhere (USA, 2010)
Written and directed by Sofia Coppola; starring Stephen Dorff and Elle Fanning.
Boom!
I couldn’t agree more.
What did you think of Lost in Translation and Marie Antoinette, Tyler?
Where did you see it? Or is it on DVD already?
Yup, it’s on video now. We rented it from Queen Video.
I’d be curious to hear your opinion of Somewhere, Ryan, in light of your opinions on The Tree of Life. Would you find this film similarly indulgent?
This is a movie about connection. Marco is completely disconnected from his life. He only feels connected when his kid around. That’s as much narrative as an impressionistic piece like this requires. I wouldn’t say I was completely riveted but, being the father of a preteen girl, I definitely understand the muted, too-subtle characterization Coppola was going for here. It’s increasingly sad to me that cinephiles who clamor for risk-taking in filmmaking are so dismissive of honest attempts at impressionistic storytelling in movies.
As I wrote, I recognize that this film is about disconnection and boredom. I also agree that this is an impressionistic piece. I just don’t think it is made well.
Even though I am not the father of a preteen girl, I recognized the muted, too-subtle (hence, so difficult to perceive it may not actually be there) characterization that Coppola was trying for, although I think she failed to actually convey it. I don’t believe this film was “honest”; rather, it felt very forced. It’s an inauthentic, tired attempt at subtlety.
My rave review of The Tree of Life and my praise for Coppola’s earlier works are evidence enough that I can recognize and admire impressionistic filmmaking.
Finally, I do not consider this a risky film because Coppola is merely repeating the style and themes of her previous work, only with less skill.
See, I get that you think it was inauthentic and forced but I don’t understand why you think that. Your review didn’t establish a basis for that and it feels like empty criticism without that. Which isn’t to say you don’t have a basis. I’m not trolling you here. I’m just saying I can’t completely follow your chain of reasoning.
Well, for example, and as I suggested above, I don’t think Stephen Dorff gives a good performance. His expression is constantly blank, and there is little to suggest that anything is going on below the surface of the character. I understand Dorff’s trying to portray an empty person, but the performance itself seems empty.
As for parts of the film being forced, the ending and beginning were way too contrived, giving us a too-explicit message to bookend the otherwise empty film.
Don’t worry, I don’t think you are trolling me. It’s good that you are calling me out on my criticisms and making me defend the opinions put forth in my review, but I also think you’ve overlooked some of the examples I provided in my review. Our reviews on this website are never trying to be exhaustive examinations of films, (more like single courses of food for thought), and they are often slim, but I don’t think my review is empty.
That said, I’m actually pleased to receive any comments though, so please keep ‘em coming!