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Sideways (2004) Fox
Searchlight Pictures, 2 hrs. 2 mins.
Starring:
Paul Giamatti, Thomas Haden Church, Virginia Madsen, Sandra Oh, Marylouise
Burke
Directed by:
Alexander Payne |
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Here’s a toast to writer-director
Alexander Payne’s winning portrait of a wine connoisseur and his stillborn
existence in the marvelous black comedy Sideways. Payne, whose skillful
social observations have previously presented us with exceptional fare in
shrewd showcases such as Election, Citizen Ruth, and About Schmidt, ushers
in another sublime and brilliant narrative that dares to examine the human
condition in a smart, touching and cynical fashion.
Provocatively sharp in its charm and thorough wit, Sideways is easily one
of the year’s best pictures that capture the genuine essence of the
movie-going experience. Saddled with complex characterizations that are
refreshingly flawed yet fully appreciated, Payne and co-writer Jim Taylor
concoct a vintage tale of introspective banter that’s high-spirited and
involving. Clearly, Payne is one of contemporary cinema’s most cerebrally
celebrated and challenging filmmakers whose grasp of mining edgy offbeat
films is an effortless endeavor.
Sideways is based on the revered novel by Rex Pickett. This uproarious
buddy-buddy road trip comedy that looks to delve into life’s everyday
excesses of fine wine, women, worries and other hedonistic devises is a
heads-up bet that certainly deserves Academy Award consideration. The
film’s unconventional-looking leading man Paul Giamatti is always an
explosive presence in whatever material that requires his crafty
participation. No doubt Giamatti is one of Hollywood’s most reliable and
resourceful movie actors working in cinema today. He always picks
motivating projects that plays into his likeable schlemiel persona. The
outcry was quite evident when the best actor Oscar nod failed to
deservedly land at his feet for the incredible work he did in American
Splendor. Let’s just hope that the academy doesn’t make the same mistake
twice and not tap Giamatti on the shoulder for his impeccable turn in
Sideways.
The premise is quite self-explanatory: two best buddies with opposite
personalities embark on a one week California coast car ride in search of
much-needed escapist frivolity. Miles Raymond (Giamatti) is a
shaggy-looking fortysomething divorced novelist hopeful. The balding yet
fuzzy-faced Miles is somewhat dissatisfied with his dull livelihood.
However, the one thing that he’s completely passionate about is his taste
for fabulous red wine. Much like a proud father would constantly talk
about his athletic son winning the city championship in a big-time
sporting event, Miles would endlessly discuss anything in detail that
involved his beloved vino and how instrumental this spiritual drink is to
his very soul.
With nothing else going on that’s considered worthwhile in Miles’s
malaise, he decides to join his old pal Jack Lopate (Thomas Haden Church
late from TV’s Wings and Ned and Stacey) as they take an extensive field
trip into wine country. Flirtatious has-been actor Jack is about to make
the hasty transition into marital bliss. Still, he must release his sexual
appetite before his freedom of bouncing from one babe to another one is
permanently extinguished. Jack, of course, is merely fooling himself
because once a skirt-chasing hound dog, always a skirt-chasing hound dog.
Jack is no more ready to make a commitment to a single woman in one
lifetime than a turkey is ready to strut fearlessly down the street during
the Thanksgiving holiday.
Basically, unlucky and paunchy Miles and hormonal boytoy Jack want to
confront their boyish transgressions before finally realizing their
self-discovery as panicky middle-aged men stuck in a quagmire of
adult-oriented uncertainty. True, the duo is connected to the hip in terms
of their adventurous venture. But what’s so fascinating about the
closeness of Miles and Jack is the conduct code that stands between them.
Miles is the ethical one—a straight-laced bulb that disapproves of his
best bud’s misbehaving tendencies and the potential disastrous outcome
should his over-sexed accomplice ruin whatever remaining relationship he
may have with his wife-to-be back home. Jack is shameless and it doesn’t
matter to him what sexual encounters transpire—he’s been through this
inescapable process before. After all, why give up the ritualistic demands
of a disillusioned man that cannot help his carnal cravings? And besides,
who’s to say that moralistic Miles might be a tad bit envious of Jack’s
sexual conquests especially when he’s not as blessed with the gift of
turning on the lust-seeking ladies?
The supporting roles of Virginia Madsen and Sandra Oh (formerly from HBO’s
Arli$$) truly enhances this blistering romantic comedy as they give
thoughtful and sexy-charged performances as the women who stimulate Miles
and Jack’s self-absorbed sensibilities. As the curvy wine-loving Maya
who’s both a part-time waitress and would-be horticulturist, Madsen
compliments Giamatti’s Miles as the perfect companion that shares his zest
for wine and other topical interests that seals the deal between a couple
meant to enjoy themselves in compatible unison. And Oh is absolutely in
giddy gear as Jack’s lovey-dovey of the moment. Giamatti’s co-stars are
definitely worthy of gaining Oscar nomination attention as well. Church,
Madsen, and Oh are delightfully riveting in their career-making
contributions in this film. There’s no doubt that Sideways is the ultimate
vehicle for Giamatti as he waxes poetics about his wine as if it were a
rare Rockwell collectible.
As a crisp and carousing enterprise, Sideways is articulate and vibrantly
realized. Payne understands the importance of filmmaking especially when
it comes to the extraordinary pacing and the durable exploration of
protagonists that are real and resonate in their uncomfortable skins.
Beautifully written with emotional insight and intoxicating flair,
Sideways is a dramedy that registers with both grace and gumption. Payne
continues to be one of America’s audacious and dependable moviemakers
because he never seems to disappoint when helming his intimately quirky
character studies from the compelling lens of his trusty camera. |
