Foxcatcher (2014)

by sfe medusa

Foxcatcher Steve Carell.jpg
(dir. Bennett Miller)

Steve Carrell is both grotesque and great. He gives an extremely unnerving performance as John du Pont – who can pretty much be described as the love triangle between David Brent, The Simpsons’ Mr. Burns and a Dementor.

Bloody kudos to Channing Tatum mate – I would never of guessed he was capable of the depth he exhibits in this.
That sounded really patronising, sorry.
Especially as I feel right in his shoes in this film, riddled with childlike confusion, thanks to that stifling blanket of unbearable tension that makes my throat thick because my naivety means I don’t understand it, but my sensitivity means it’s amplified.
Just like being back in Junior School.

Undeniable sexual undertones feels like a bit of a cop-out, Du Pont’s interesting relationship with his mother does not. So no sins here as far as I’m concerned.

Eventually you take the awkward aura as given, and the (quite palpable) tensions between the Schultz brothers and du Pont becomes much more understandable.
Dave Schultz (Tatum’s on-screen brother, Mark Ruffalo) and du Pont’s clash is such an interesting one – throws about questions of ownership, like “Am I caring, or am I just controlling?” and “Do I only need you because being alone makes me realise how pathetic I am?”  because those aren’t questions limited to male American schmucks.

Something about ownership, something about the colour and shape of that creepy gym.

I did giggle at this scene , and thought it was a good bit of light relief, as the (relatively) happier moments of the film tend to be extremely short-lived, but that’s, er, understandable.

But now, on re-watching however many weeks later because it takes me a while to peel these reviews out of my Drafts folder, all I hear is arrogance in du Pont’s voice..
A false sense of worth caused as much by the money and the chang as it is a group of grown men letting you wrestle them to the ground with as much force as a limp handshake.
Your material assets are by no means assets, unless you live in the modern world. Oh wait.

It’s also made me remember how voyeuristic the film is, child looking through a keyhole type shit, a bit like that kid in Atonement.

A great starting point for musing on modern America and the power of corporations, status quo and all that subject matter that will never get old, because it will never change.