Jamie Turner80
Member
37 messages
joined Jul 2009
I would, however, prefer to devote my attention to a film I squeezed in between two viewings of Mad Max—one that suffered the misfortune of hitting theaters at the exact same time as what was likely the biggest blockbuster of the year. Do me a favor and show some solidarity by doing the same. The film is titled Danny Collins, a comedy-drama purportedly based on true events (though ninety-nine percent of it is pure fiction), centered on an aging pop-rock star navigating a fundamental life transformation and eventual redemption. Naturally, there is nothing groundbreaking about the premise; one can recall at least a dozen titles with a similar setup, but the crux of the matter is that Danny Collins is an example of a film that is executed flawlessly from start to finish.
We have seen films of this ilk before, ranging from saccharine Hallmark Channel drivel to relatively serious art house features, as the tension between a public persona and the actual individual remains one of cinema's eternal themes. The moral rebirth of characters, their redemption, the shedding of outdated ideologies, or even their ultimate transition into maturity during their later years, are all perfectly legitimate cinematic subjects.
The writer clearly exerted more effort regarding Danni; he is a well-written, fully realized character supported by a wealth of specific details. Some are standard tropes but serve their purpose, such as his signature, syrupy song Hey Baby Girl, which bears a striking resemblance to Neil Diamond's Sweet Caroline, or the cross necklace that doubles as a cocaine container. Other elements of his behavior are written with near-genius precision, such as his theatrical approach to his private life, dragging a piano into a hotel room, and the sheer volume of semi-conscious and unconscious lies he blathers out almost incidentally.
Al Pacino delivers an absolutely masterful performance. We do not typically remember him for playing these types of lost, eccentric "rockstar" figures, but the dose of theatricality with which Danny is conceived aligns perfectly with Pacino’s sensibilities. As the director, Dan Fogelman grants him total freedom, and Pacino utilizes it to its fullest potential; in his hands, Danny becomes an incredibly colorful and memorable character. It is worth noting that Pacino selects his roles with great care to ensure he shines even in an average film, and eccentric artists have become his new forte. One need only recall the HBO film Phil Spector (2013) or the relatively recent The Humbling.
more at:
http://film-na-dan.blogspot.com/2015...y-collins.html
