Trance by Danny Boyle

Trance by Danny Boyle

Trance by Danny Boyle

An art auctioneer who has become mixed up with a group of criminals partners with a hypnotherapist in order to recover a lost painting.

Danny Boyle’s new film Trance is an cinematic assault on the senses, and unapologetically so. The premise behind Trance is inherently silly. This is a world in which where hypnosis is magic and accomplishes everything. I doubt any real gangster in the world would ever incorporate a doctor of any kind to assist them with crime.  Audiences just have to go along with it. With trippy cinematography and an awesome soundtrack that I want on my mp3 playlist, Boyle crafts a colorful thrill ride of a film.In the past, Danny Boyle has experimented with genre to varying degrees of success. 28 Days Later worked for me, Sunshine did not. For Trance, the genre-shifting nature works mostly because of its three stars giving it the proper balance. All three lead actors are given dimensional characters to play. Vincent Cassell and James McAvoy seem to be enjoying their roles as they get to play out not only their own characters’ complexities, but their fantasies and projections as well. The standout, surprisingly, is Rosario Dawson.

This is the best Rosario Dawson role I have seen thus far. In her past roles, her sex appeal has been used too blatantly and it has taken away from her performances. The more you intentionally portray someone as sexy on film, the less sexy it is. I am too aware that I am supposed to be aroused by something that I am not totally immersed in. It’s more the idea of sex and the building of sexual tension that creates onscreen sexiness. Danny Boyle sets up the proper atmosphere and films her in a way that forwards the story. Boyle creates an allure to Rosario Dawson’s hypnotherapist character, who’s just sitting down in plain office attire hypnotizing the male characters with words. Her presence adds an entire genre, the erotic thriller, and it sets the film off on a corkscrew spiral mixing film genres, reality and dream states. Nobody is who they seem to be and the film delivers some nice twists and turns.

There’s a trashiness that the film revels in, as if the film is fine with the audience being aroused and indulging into its stimulus. It never gets serious enough for the audience to ever truly take it seriously. So for that, Trance is a fun naughty little piece of pop art, that’s not to be taken seriously and I was comfortably lost in it.

A Dangerous Method by David Cronenberg

A Dangerous Method

A Dangerous Method (Photo credit: Wikipedia)

There is something very cinematic about watching the creation of something. In A Dangerous Method, we see the beginnings of psychoanalysis and the intellectual debate about the approach to the mind. Carl Jung (played by Michael Fassbender) treats Sabina Spielrein (played by Kiera Knightley), whom eventually becomes his assistant and one of the first female psychoanalysts. They begin a love affair, that breaks the boundaries of their doctor-patient relationship and threatens Jung’s family and career. Adding oil to the fire is the presence of Sigmund Freud (played by Viggo Mortensen), of whom Jung seeks approval from but ultimately their relationship turns turbulent as they differ on views of sexuality and religion.

First of all, I liked the 2 lead performances. Michael Fassbender is great as Carl Jung. Viggo Mortensen brings true gravitas to Sigmund Freud, and we experience how Carl Jung is intimidated by his presence. Viggo is our generation’s Robert De Niro. He’s come a long way as an Omish dude sitting at the back of a carriage in Witness. Some actors are good at creating a character internally (i.e. Robert De Niro is always Robert De Niro but is able to create a character)and some actors are good at physicalizing a character (i.e. Johnny Depp as Jack Sparrow or Willy Wonka). Viggo Mortensen is both. Any role Viggo is in, he truly transforms into his roles inside-out and always creates a presence to be marveled.

On the issue of Kiera Knightley convulsing and making spastic movements… given that it is a factually-accurate portrayal of mental distress, she’s performing the psychosis as if she were in a theatrical play. She has yet to learn how to use a close-up on film. In my opinion, it’s not her fault. The director should have cut around her or toned her actions down. Watching her face as she does them, it feels very performed. I think less is more in this case and this was somewhat of a miscalculation on Cronenberg’s part. However, Knightley does fares better in the latter half of the movie.

I can see why David Cronenberg was attracted to do this material. There is a mental violence underneath the relationships between Freud, Jung and Spielrein. At times it is about manipulation, most of the time, it is all about power. The main problem is the mental violence is not violent enough. That may be because these are true events with real-life historical figures. You end up with a dramatic replay of historical events. There is no prominent theme underneath that does not say anything about life that you can take away from.

Is it worth seeing for the performances? Not really. It would also require an interest in the foundations of psychoanalysis (which I do have an interest in) as well. But even with that, that’s still pushing it because there is nothing more beneath it’s surface to offer. In the end, I’m glad I saw it but A Dangerous Method is a bit unremarkable.