The machinist- Where’s the story? 1 star out of 5  

First of all, I want to state that I might not be the best person to review this movie. (Off the record: I’m playing a character named “Schizophrenic” on the stage and I read a lot of cases for my research, so…) All right, back to the review. As you might’ve read in many interviews and other resources, Jennifer Jason Leigh refers to this movie as a great character study… Yes, it is, of course. The problem is simple: where’s the story?

Perhaps one the most joyous experiences of playing a character is creating a back story founded in the proper research for the profile of the given part, let’s face it, it’s an actor’s wet dream. However, this doesn’t mean that this is something somebody else would be interested in seeing. Good, you ‘re creative, nurturing the character you play, but once that’s done, there’s a phase two. That is: use what you created for the purpose of telling a story. That phase, unfortunately, never happens in “The machinist”.

Christian Bale works hard for his art, there’s not denying it. Is that effort worthy? In my humble opinion, no. He lost lots of weight to show the guilt that his Trevor Reznik has inflicted on himself but the payoff is not there.

His machinist is devoured by guilt for something he doesn’t recall doing, he goes lady Macbeth washing his hands with bleach and gets all sort of Dostoievskian references all through the movie. As a character says to him in a scene when he loses his temper: “It’s your imagination again”. As a matter of fact, his imagination creations have a way to appear in super imposed shots to prove what they are. Yes, he’s a loon. The character is there and Bale plays it with rewarding surrender.

But that’s all there is in the movie. Jennifer Jason Leigh has a more thankless role than her Annie Sullivan in “Road to perdition”. She’s simply in an underwritten part to play reality to Bale’s illusions. What a waste for an actress with THIS talent!

Kudos to Michael Ironside; he does have a character to play and is fearless in his creation. “That scene” which I won’t spoil it to you, in case you’ve not seen the movie, shows the range and commitment only a great actor can convey.

Aitana Sánchez-Gijón has the other female role and well, she also gets something to do performing it in a decent enough way.

The other actors do what they have to do and the overall is mixed, all because of the non existent story forgotten while searching and finding a character. I’d also like to celebrate the cinematography by Xavi Gimenez and the production design by Alain Bainee because they offer us something different, particularly needed when depicting a head case world.

The lone star goes for Bale commitment because that’s what great performances are made of. Here wishing that he would’ve found a screenplay worthy of his effort. I know that comparisons are worthless but when news about this movie we’re making the rounds, some people thought of “Fight club” all because of the insomnia and the mental deterioration. I understand that point of view, just remember: that movie had character development and a story to its service. Better luck tomorrow: great character study, but no story. 

I’m honest, I really tried to like this movie. Unfortunately the lack of point killed it all for me. I’m truly disappointed.

The big pictures.

Road to Perdition (2002) .... Annie Sullivan

Hey Arnold! The Movie (2002) (voice) .... Bridget

Crossed Over (2002) (TV) .... Karla Faye Tucker

Quickie, The (2001) .... Lisa

Anniversary Party, The (2001) .... Sally Nash

Skipped Parts (2000) .... Lydia Callahan

King Is Alive, The (2000) .... Gina

Spawn 3: Ultimate Battle (1999) (V) (voice) .... Lilly

eXistenZ (1999) .... Allegra Geller

Thanks of a Grateful Nation (1998) (TV) .... Teri Small

Love Letter, The (1998) (TV) .... Elizabeth Whitcomb

Thousand Acres, A (1997) .... Caroline Cook

Washington Square (1997) .... Catherine Sloper

"Spawn" (1997/II) TV Series (voice) .... Lilly

Bastard Out of Carolina (1996) .... Anney Boatwright

Kansas City (1996) .... Blondie O'Hara

Georgia (1995) .... Sadie Flood

Dolores Claiborne (1995) .... Selena St. George

Mrs. Parker and the Vicious Circle (1994) .... Dorothy Parker

Hudsucker Proxy, The (1994) .... Amy Archer (SIR)

Short Cuts (1993) .... Lois Kaiser

Prom, The (1992) .... Lana

Single White Female (1992) .... Hedra 'Hedy' Carlson

Rush (1991) .... Kristen

Crooked Hearts (1991) .... Marriet

Backdraft (1991) .... Jennifer Vaitkus

Buried Alive (1990/II) (TV) .... Joanna Goodman

Miami Blues (1990) .... Susie Waggoner

Last Exit to Brooklyn (1989) .... Tralala

Big Picture, The (1989) .... Lydia Johnson

Heart of Midnight (1989) .... Carol Rivers (SIR)

Under Cover (1987) .... Tanille Lareoux

Sister, Sister (1987) .... Lucy Bonnard

Picnic (1986) (TV) .... Madge Owens

Men's Club, The (1986) .... Teensy

Hitcher, The (1986) .... Nash Galveston

Flesh & Blood (1985) .... Agnes (SIR)

Grandview, U.S.A. (1984) .... Candy Webster

Girls of the White Orchid (1983) (TV) .... Carol Heath

Easy Money (1983) .... Allison Capuletti

Have You Ever Been Ashamed of Your Parents? (1983) (TV) .... Andrea Fairchild

First Time, The (1982/II) (TV) .... Bonnie

Fast Times at Ridgemont High (1982) .... Stacy Hamilton (SIR)

Wrong Is Right (1982) .... Young Girl

Best Little Girl in the World, The (1981) (TV) .... Casey Powell

Killing of Randy Webster, The (1981) (TV) .... Amy Wheeler

I Think I'm Having a Baby (1981) (TV) .... Laurie

Eyes of a Stranger (1981) .... Tracy Harris

Angel City (1980) (TV) .... Kristy Teeter

Young Runaways, The (1978) (TV) .... Heather

Tod eines Fremden (1973) (uncredited) .... Girl playing with a rubber ball

In the cut- Nearly a Masterpiece. 4 and a half stars out of 5  

My sympathy for Nicole Kidman. And no, not because what a lot of people may be thinking. I truly understand why she backed off from starring in this movie and well, funnyhow the role went to her antithesis, yes, Meg Ryan, I am talking to you. Remember what happened during the filming time, right? Kidman was heartbroken and there was no way in the world she could immerse herself in this kind of role, it would be harmful for her emotional health. Come Meg Ryan, who in a way was the Tom Cruise to Dennis Quaid Nicole. She was strong enough to take the part, undoubtedly. And then Kidman was simply OK with the producer role.

All right, into the movie. A nearly masterpiece, that is what it is. It is sad that In the cut received such a bad rap from critics and audiences alike and well, I can understand why. Therere a lot of people who refuse to see themselves reflected in the screen and that is what happens in this story. Let me start with the symbolism. Cinderellas, flowers, brides, wedding rings,  a bracelet with the charm of a baby in his cradle, every man seen as a husband to be, women rushing through the streets and to life. That pretty much resumes what a lot of people (specially feminists) would reject from the movie, I almost can hear them howling: Oh, no, women have more important aspirations in life than to get married! All righty then, but what is your answer to this change of phrase:  Oh, no, women have more important aspirations in life than to be loved!? Get it? Not only women, every human being in the planet is after love and refuses to see it. Heartbreakingly and not (in the case of Nick Damici character) when love eludes the characters of this movie, they certainly have a way to show how it affected their whole essence.

Checking every detail and the whole movie comes in place. That is when a director like Jane Campion can achieve her craft, by showing how imagery had to be used in this movie to reach the essence of the story, when even dismemberment is an allegory of broken dreams. However, there are some edition issues that takes the film a tad away from the masterpiece it should have been and well, that same goes to what Meg Ryan performance could achieve. Do not get me wrong, she was brilliant playing Frannie. But a little more of her heartbreak could elevate her already great performance to a master one. But the camera or better said the editing scissors shies away from what her delusions might display on film after the string of disappointments that greet her in her search for love.

That is right, we have come to the performances. Brilliant, everyone in the movie, everyone. Meg Ryan chemistry with Mark Ruffalo is priceless. He is worlds away from his annoying sleepwalking performance in You can count on me and fills his Detective Malloy with a humanity that only ordinary people can transmit. He is absolutely right as Malloy. And well, now to the point that probably drove you here: Jennifer Jason Leigh.

Astonishing as she always is, there is a turning point when her character disappears from the screen. Not just because of what happens to her, but also since she is a mirror for Frannie, the empathy that bonds them is the same desperation for love. Pauline is her friend, her sister, her half sister and Jennifer Jason Leigh plays all those hats with her usual perfection. Wished she could have been on the screen longer, but a joy to behold in every second of her time.

And to the ending, well, I would herald the movie as a total masterpiece if it was decided to stick with the original ending that offered the book. No, I am not telling it to you, but just a hint: every character crashes and burns in their search for love, specially Frannie.

But kudos to the four brave women behind this movie: Campion, Kidman, Leigh and Ryan. I truly applaud their approach to reflect through In the cut how life can be a lot of times; ugly and without the expected responses...