Dir. Scott Coffey, 2005, US, 94 mins
Cast: Naomi Watts, Rebecca Riggs, Scott Coffey, Mark Pellegrino, Chevy Chase, Keanu Reeves
Review by Hemanth Kissoon
Sam (Riggs): “I think the whole Method thing is wank.”
Like The Player, Living in Oblivion, Mulholland Drive, Withnail & I, Lovely & Amazing and Ivans xtc, Ellie Parker looks at those trying to make it in the movie world. The film captures the lunacy, narcissism and disappointment that are often romanticised or ignored by cinema-goers and those aspiring to enter the profession.
The film follows the titular Ellie (Watts) around Los Angeles as she goes from one audition to the next, hoping that this is the one that will give her the break she so desperately desires. The audience is not coming in on an actress that is in the full flush of youth with the world open to her, but an actress who we are about to witness being forced to reassess her entire life. The film packs a lot into its running time.
The film is laugh-out-loud funny in places, often at the expense of Ellie and her self-absorbed pals. Watts is outstanding in the lead. She throws herself physically and emotionally into the role, no matter how unflattering her character comes out. It is a really brave performance that has paid dividends for her credibility and likeability.
Ellie Parker is shot on digital video and looks home-made, but this works in its favour, as it enhances the feeling of audience intimacy, which in turn heightens the cringe factor and our empathy with Ellie. There are scenes that feel padded and unnecessary, but give them a chance, as there is usually a pay-off at the end – a good example being the blue ice-cream montage.
Ellie: “Men are so lucky. I would love to have a cock.”
Sam: “That is so 70s.”
Ellie could come across as one of those annoying self-centred characters such as Ally McBeal and Meredith Grey (Grey’s Anatomy), and thus hugely grating and whiny. However, the sheer amount of misfortune that is piled on her means that you can never truly dislike the character, and you actually end up hoping that she gets where she wants to go. The supporting cast also really bring the film to life and put her world in context. Her best mate is both a fellow thespian and fellow Australian (which adds to their isolation in Tinsel Town), and they provide each other with mutual support and acid put-downs in equal measure. Then there is Ellie’s flaky musician boyfriend, Russian investors and a method acting class, to name just a few of those she collides with along the way. There is a great exchange where Ellie and Sam debate the merits of method acting over using your own imagination, which culminates in a competition of who can cry the fastest.
Ellie: “The future was like a promise, now it is like a threat.”
The film plays up to all the stereotypes of what goes on in Hollywood but still makes the observations biting. Ellie Parker started as a short in 2001, but it has been extended over the last four years to become the feature it is now. Cinematic history has kind of re-written the film by having Watts emerge in the last five years as a hugely respected, bona fide talent.
|
