The Personal History of David Copperfield (4/5 Stars)

 

Writer/Director Armando Iannucci is one of my favorites. He is responsible for the early career of the British comedian Steve Coogan (David Partridge) and the best TV show about British politics (The Thick of It). Thereafter, he made a great movie that crossed over his British political show into American politics (In the Loop) and then seamlessly transferred his skills to one of the best shows about American politics (Veep). Since leaving Veep, he made a masterpiece, The Death of Stalin, which I called in my review a perfect marriage of artist and subject matter. His work, a worthy successor of Monty Python, is defined by that very British and very cruel sense of humor (a worthy American successor of Monty Python along the same lines is South Park). 

In the spirit of Monty Python then, And Now for Something Completely Different! For the first time in Iannucci’s career, he has expended money on set design and costumes. The Personal History of David Copperfield is a lark to look at it. It adapts the 19^th century Charles Dickens' novel with color and flair. The stolid realism of his political films is completely gone. Moreover, the movie's storyline zips and churns through scenery and characters in a frenetic and fantastic pace. It is a giant leap in style for Iannucci and he accomplishes it like a natural.

The screenplay which Iannucci co-wrote with longtime collaborator Simon Blackwell. I have not read this particular Dickens work novel, but having read other of his books, I expect the screenwriters put in excellent work, omitting much extraneous details were successfully edited out while successfully retaining the emotional core and finding room for plenty of jokes. This does not feel like the usual Dickens adaptation, which is all the better because I have never felt Dickens to be especially adaptable.

In fact, I’m not sure I particularly like Dickens. I'm not sure I approve of the way he gave characters names that automatically signaled how you are supposed to feel about them, as if a book could be judged by its cover. Anyhow, if one were to adapt a Dickens book, what with all its contrivances, this would be the movie to show it is to be done. The unabashedly caricatures of personality are here. David Copperfield is as earnest as earnest comes. Mr. Murdstone is a mean monster. Uriah Heep is a total piece of shit. It is an unfair story told in an unrealistic abstract way as if to signal to the audience like a B movie would, hey this is not real life, have fun and enjoy yourself.

This brings me to the most noticeable part of the movie, what the movie has termed “color blind casting”. As you may suspect, this 19^th century British novel about British people ought to be entirely populated by British people. However, Iannucci has cast an Indian in the title role (Dev Patel of Slumdog Millionaire fame), and several black people, some other Indians, and a Chinese man (Benedict Wong) in several of the supporting roles. 

Does this work? I am reminded of one of the stupider conversations I ever had with someone, a former roommate that attended the same college as Lena Dunham. He believed that Leonardo DiCaprio’s role in The Revenant could have been played just as well as a black man. (This role is based on the real-life personage of a fur trapper in 1820s America in the Louisiana Territory). I thought that point of view was idiotic. The movie was attempting to be as realistic as possible. It went so far as to shoot only with natural light. An undisguised black man as the protagonist would have been absolutely weird. I still stand by this sentiment, but at the same time, as a resident of New York City, I have seen many productions of Shakespeare plays which rely on color-blind casting. And for Shakespeare plays, color-blind casting works very well. After all, Shakespeare never had production value so there is very little realism in his works. The merits of his plays rely almost exclusively on the poetry of his words and acting, which can be done by anyone who can master the correct accent and style of performance. The color blind casting here works in the same way. There are many different ethnicities represented by the actors, but every single one of them speaks their lines in perfect 19th century English accents. (Not coincidentally I suppose, but the actors, if not British, come from places that have ties to the British Empire, in particular India, Africa, and Hong Kong. There are no Latin or Arab cast members).

The way the movie is presented is itself more abstract then realistic. Within this environment it makes sense to simply find the best actors around. Dev Patel, who has a very Tom Hanksian earnest everyman quality to him, is well cast in the lead role of David Copperfield. And I always like seeing Benedict Wong in anything. It would have been awesome if that was Chloe Sevigny in blackface, but apparently there is a black woman who looks just like her with the name of Rosalind Eleazar. The rest of the cast that is white is a who’s who of interesting actors: Tilda Swinton, Hugh Laurie, and Peter Capaldi amongst them. Then there is Ben Whishaw who plays Dickens’ classic creep Uriah Heep. He does a particularly good job at making one’s skin crawl as soon as he shows up on screen. I am reminded once more by how much Dickens hated lawyers.

The movie moves swiftly from interesting caricature to interesting caricature and through comedic interludes and dramatic pratfalls. It ends with a artistic cop-out that is becoming as cliched as a story ending in marriage or death. The main character aspires to be writer. He writes a book about the people within the story. This story is published and becomes wildly successful. And The End, Happily Ever After.

I have seen this sort of ending perhaps a dozen times. What does it mean? Does it not say that all the hardships we endure in our lives can be automatically validated if the general populace pays attention to it and bestow upon the writer fame and fortune? Is that true? If two people have an argument, and only one is famous, and as a result only one side of the argument is told, is there then only one side of the story, and the argument won. Perhaps I am being a little cynical. However, it has been postulated that David Copperfield is a veiled autobiography of Dickens. If it supposed to be at all objective, is it fair to give your step-father the surname of Murdstone or to name anyone you once knew Uriah Heep. Apart from that, I really did like this movie.

A Blog Update

 

This is the fifteenth year I have been writing this blog and I think it is fair to say that 2020 was the worst year for movies in my lifetime. It is entirely the fault of the pandemic.

 

The crisis has made a few things clear though: First, it has been proven to me that seeing a movie in a theater is preferable to seeing a movie at home. The obvious differences are the size of the screen and the presence of an audience. These things are important, sure, and the presence of an audience is particularly helpful when watching a comedy or horror movie, but what I have come to respect even more is the focus that a movie theater provides the viewer. When one is at home there are a multitude of potential distractions that take the viewer out of the experience. Even a small pause in action would prompt me to look at my phone when I otherwise would not in a theater. For blockbusters this would not be all that important. You are not going to miss much when you look away for a few seconds. The movie I just watched, “The Personal History of David Copperfield” is a smaller movie, but it moves fast and has a lot of detail. Distractions can ruin the experience of this type of movie. I had to pause the movie several times and rewind so that I would not miss anything. I really wish I had seen this movie in a theater.

 

The pandemic also revealed one great thing about movie theaters I had completely taken for granted. As someone who lives in New York, I had the benefit of living in a market where almost every movie worthy of being released in theaters was available at some theater in the city. In effect, I always had the opportunity to see a particular movie at the time of its release. Now all the theaters are closed indefinitely. Since then, the movies that would have been given a theater release are now hoarded by streaming platforms. These streaming platforms, may they rot, don’t even allow movie night. That is, they do not allow a consumer to buy a single ticket to a newly released movie. I must subscribe to AppleTV, or Disney+, or HBOMAX to see anything on the service. Imagine my surprise, when I couldn’t see the latest Tom Hanks’ movie “Greyhound” earlier this year. I would have paid $15 to see it in a theater. I would have paid $15 to see it at home. But AppleTV wanted me to subscribe to AppleTV and would not sell or rent the movie to me otherwise. I believe I am like most people when I swear I will not subscribe to ten different streaming services (At this moment I have Netflix and Ami has Amazon Prime and Hulu). I’m not subscribing to a streaming platform just to watch one movie. That is stupid.

 

Worse, this development comes at the end-times of the rental market. For the first fifteen years of this century, movie-lovers lived in a golden era when every movie and TV show that was released was also put on DVD for general consumption in the rental market. In fact, all the great old movies were put on DVD too. With a Netflix DVD subscription, one had access to the entire DVD universe, which seemed to be almost everything. This golden era has ended. It is starting to become common that movies are not getting a DVD release (Compact Disc slots themselves are being omitted from new electronic devices). This would not be such a problem if there existed a general rental market where individual titles could be downloaded. However, that does not appear to be happening. “Greyhound” will not come out on DVD and it won’t be available to rent from AppleTV or any other streaming platform in the near or far future. It appears that it is fated to forever be locked within AppleTV. There are two ways a movie becomes widely seen. It is either widely marketed and highly anticipated. Many people see it immediately upon its release in theaters. Or it gains popularity once a critical mass of people have seen it and recommend it to other people. "Greyhound" did not get a release in theaters. A required subscription to AppleTV should severely limit any possible spread via word-of-mouth. It is hard to imagine a different scenario in which the rollout of this movie would result in it being seen by less people. It is almost as if Apple has no experience whatsoever in the business of making and marketing movies.

There is this idea of a shared popular culture which comes from a time (50s to 70s) when there were only five television channels and movies were expensive to make. Everyone in the country seemed to be watching or at least aware of the same cultural happenings. The splintering of our shared culture has been occurring for awhile now (let’s put the start of it at basic cable). The closing of movie theaters and the obsolescence of DVD rentals will only exacerbate that trendline. Where we go from here I do not know, but I am noticing the change.