Diner (1982) (R)
















"Diner" attempts to provide of snapshot of the last moments of the 1950s within a certain circle of male friends. These guys were presumably close in highschool and now that they've move on to bigger things they find themselves unsure of the future, whether that's marriage, college, or traveling. Although not put together they always manage to have the resources to go to the local diner and have conversations about music, lovers, and sex.
Barry Levinson's directorial debut is the kind of movie that some might deem 'honest'. It presents several situations that many would find reflective of ordinary life. This is probably accurate, but the movie hasn't aged well and so as minor conversations and small wagers turn into larger narrative arcs, the "honesty" of the picture just consists of people being assholes and a timely soundtrack.
"Diner" owes a lot to Scorsese, particularly in how the movie sounds. The actors all speak in a very laid-back, important fashion about presumably nothing. And in "Seinfeld" fashion, this may be a movie about nothing...which is the point.
"Diner" thrives in the moments thought to be unworthy of film. This is a participation in what indie movies are doing. The more common narrative, by default, assumes that the movie will be exciting and noteworthy simply because of the nature of escapism. No one wants to watch a real time movie of a man filing taxes for three hours, drinking a cup of coffee, and taking a nap. In my mind, "Diner" tries for the moments that are between car chases and robberies, focusing on a group of pre-millennial millennials who are anxious about life, love, sex, women, and money...but most of all being men.
It's the holiday season in the twilight hours of the 1950s and five guy friends like to eat at a diner. If I was being cynical, that's the end of the movie. But we're supposed to push through and press on into the characters, finding them oddly charming and lovably ignorant. Which, for the first half of the movie, they are.
We see them roughhouse and argue about singers and drive around and eat and talk about girls and through their conversation the larger narrative arises: one of the guys is getting married soon and his betrothed has to answer a football quiz in order for them to get married.
Hilarious, right? Well, not exactly in a physical comedy sort of way and as the domestic abuse starts to emerge it becomes less pleasant and maybe more an attempt to mirror everyday life.
Money issues, the mob, women (who are so complicated, right?), music, etc—the movie juggles a lot of issues and a lot of minor arcs as friends come back into town, pregnancies happen, and the wedding gets even closer.
To me, "Diner" is a good movie and something I never want to touch again. Not because it's bad or harmful, I think it accurately represents an 80s mindset concerning the 60s. The reason I never want to see it again is twofold: 1.) it's really not that exciting and 2.) these characters aren't redeemable to me. Sure, it's the 80s so a little misogyny is expected; but "Diner's" treatment of female characters, particularly the Ellen Barkin figure, doesn't inspire warm fuzzy feelings inside me. The chivalry present is supposed to be when, upon manipulating a girl on the brink of a nervous breakdown, the truth emerges that this was all for a bet and everyone gets forgiven.
Maybe I'm too altruistic, or maybe I'm too critical—both are possible.
"Diner" is a good in the way "The Ice Storm" is a good movie. Both fantasize about the everyday life of suburbia, but "Diner" fails to make it compelling.







Score: ★★½

The Day the Earth Stood Still (1951)
















This review contains SPOILERS!
One of the monoliths of science fiction movies, "The Day the Earth Stood Still" is keenly invested in the time period and nationalistic crises of a post-WWII America. In the opening credits, we see the western hemisphere as we travel with the protagonist "invaders" as the camera plummets towards Earth and immediately we see the nervous and perhaps violent way that Americans (or perhaps humanity at large) treats the unknown. We are hyper-aware of the time period, not only because the central drive of the movie is warning others that atomic energy is a power that could be too great to contain; but also because the radio dominates people's consumption of the news and the general bleakness of a post-war film.
Klaatu (Michael Rennie) is a humanoid alien whose physiology is no different than our own. He has landed with an eight-foot tall metal robot named Gort and he claims to have an urgent message for the people of the world. By sheer coincidence, or for the sake of ease of the story, his ship lands in the middle of the mall in Washington, D.C. You can see the fear of the people around him when he first emerges from the spaceship, offering up a gift which is misinterpreted as a weapon and he is shot through the shoulder and ends up in a hospital.
Escaping custody, he meanders around the streets trying to get a better sense of these earthlings and rents a room where he meets Helen Benson (Patricia Neal) and her son Bobby (Billy Gray). He introduces himself as Mr. Carpenter (a name he found on the inside of the jacket he was wearing) and lodges with the Bensons and a few other quirky characters who nicely sum up the political climate of the day.
But all this time, we are waiting to hear his message, which is teased and dangled in front of the viewer until the very last scene of the movie when Klaatu stands in front of the camera and speaks to the audience, warning against violence and most of all, against atomic warfare.
This warning does not necessarily mean that humanity will, of its own free nature, become more moral, because it's clear that Klaatu and his people do not care what humans do to other humans. The warning is mostly that, should their warfare stray to interstellar territories, there will be no hesitation to wipe Earth out.
For someone watching over half a century later, this sentiment loses some of its charm. "Be good to us or we'll kill you!" But still, it's nice to see a film aware of these issues even if it is under the umbrella of its own nationalistic identity. We can see this when Bobby takes Klaatu to the cemetery to look at the gravestone of Bobby's dad, who died in the war. Then they stop at the Lincoln Memorial where Klaatu panders to the target audience and comments on what a great individual this person was. While perhaps justified, looking upon the Gettysburg address, Klaatu and Bobby quickly go back to the less patriotic story-line which concerns only the alien and his doings.
"The Day the Earth Stood Still" is maybe deceptively simple with a very clear message and a very easy narrative; but the words are the most important part. Another key factor to consider when watching the movie is that the only "major" award that it won was at the Golden Globes where it took home the prize for "Best Film Promoting International Understanding" a category that has been retired for over fifty years now. The international understanding of the film is less about the empathy of victims who had survived the atomic bomb and more about self-preservation when you view the film in a callous light.
A more optimistic approach would perhaps deify this "Carpenter" and his words of wisdom and teach the viewer that this is the only life we have to live, so why not minimize human suffering along the way? And for that, it's hard to critique the film.









Score: ★★★