Movie:
Smoke (1995)
Director: Wayne Wang (1995)
Cast: Harvey Keitel (Auggie Wren), William Hurt (Paul Benjamin),
Harold Perrineau, Jr. (Rashid / Thomas Jefferson Cole), Stockward
Channing (Ruby McNutt), Forest Whitaker (Cyrus Cole), Ashley
Judd (Ruby's daughter)
This is a quiet movie, one of those undiscovered gems which
aims for simplicity but achieves much more. Its not as if
very much of huge importance happens - rather it is a portrayal
of the juxtaposition of several stories coming together, all
touching on a common base: a tobacco store in Brooklyn. It
seems to be an attempt at story-telling, a seemingly simple
art which surprisingly has been difficult art achieve.
Each
character is given some background to help flesh them out
a little: Harvey Keitel plays Auggie, the owner of the store,
who encounters an old flame, Ruby (Stockward Channing), who
unexpectedly appears to ask for his help in saving her (and
possibly his) pregnant drug-addicted daughter (Ashley Judd).
Paul (William Hurt), is a regular customer and a friend of
Auggie's. He is a formerly successful writer who haven't been
able to write since his pregnant wife died as an innocent
victim in a robbery attempt. He encounters Rashid (Harold
Perrineau, Jr.), a 17 year old who has run away from home
in order to seek out his father (Forest Whitaker), whom he
had not seen since the death of Rashid's mother. But Rashid
is also running away from something else, a fact which he
overlays with lies and half-truths.
Using this as a general structure, Wayne Wang and Paul Auster
(who wrote the screenplay) proceeds to develop each character
into three-dimensional beings, given each of them idiosyncrasies
and character traits. Auggie, for example, takes pictures
of his corner of the world at 8am everyday, building up a
collection over a number of years. Paul, being a writer, is
full of interesting absorbing stories, including one at the
beginning of the film about Sir Walter Raleigh finding the
weight of smoke from a cigar (hence the film title). There
are no identifiable good or bad characters, but complex individuals
whose actions may be questionable, but their motivations may
be sympathetic. Rashid, though an easy liar, is articulate
and cheeky, forward with all the boldness of his youth. His
yearning to see his father though, exposes his vulnerability
and humanity, despite his bravado. His father, though having
left his young son behind, is filled with remorse. Cyrus is
reminded everyday by his mechanical arm of the tragedy where
Rashid's mother died in a car accident in which Cyrus was
the driver. Ruby, a blowsy bottle-blonde, wears an eyepatch
over her missing eye. Although it seems that she once screwed
Auggie over, this time her concern seems genuine, leading
Auggie to perform an astonishing act of great kindness and
compassion.
Indeed,
this is what the film achieves: beauty and grandeur in the
smallest things, heroism springing from ordinary people. Each
of us have a tragedy or a story, which although may not be
earth-shattering as the most grandest epic, is nevertheless
important and moving to us, transforming and changing us as
we experienced them. Paul demonstrates this: as a writer,
he hears and collects stories. At the end of the movie, he
listens to the simple tale of how Auggie got his camera, and
writes it for the New York Times, because it as good as any
of those that concern more famous people, such as Sir Walter
Raleigh and his measurement of the weight of smoke. Though
these people may swear and cuss, lie and be insensitive at
times, their hearts are basically good. From the accumulation
of small actions, come great things.
When
you see it like this, you realise how skilful the writing
of this film actually is, because its touch is subtle to be
almost invisible. Everything leads to something, nothing is
left loose to unravel and irritate. The joy this film gives
is not one of great exhilaration that comes from the rush
of adrenalin, but the wonder and satisfaction of listening
or hearing of a well-told tale, one that reaches out to all.
For me, I find it interesting that this is one of those rare
Hollywood films where the actors work together to serve the
script and the movie, rather than stand out and jostle for
attention. It is a simple tale, beautifully told and realised.
Eden
Law
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