Top Ten: Ewan McGregor Performances

Tuesday Thursday Top Ten

With Ewan McGregor back in theaters with Beginners and with it being Moulin Rouge! week and all, how about a list of our top Ewan performances?

I have only the dimmest recollection of A Life Less Ordinary and I just didn't want to include that awful Star Wars prequel trilogy on principle (though Ewan survived it better than most of the actors) and it's possible I forgot something else... but here we go.

10 "Jerome" in THE PILLOW BOOK (1996)
I love Ewan's ballsy (ahem) taste in material... at least at that point in his career. His screen persona often reads sweet but he's quite a wild child in terms of the cinema.

09  "The Ghost" in THE GHOST WRITER (2010)
A tricky cipher part -- who is he really? we can't know -- that he pulled off well. It helps that the movie is so damn good: top ten list!

Tilda and Ewan in "Young Adam"

08 "Joe Taylor" in YOUNG ADAM (2003)
Arriving so quickly on Moulin Rouge!'s warm heels this one was a shocker. Ewan re-embraced the amoral danger of his star-making roles in the 90s, absent the devilishly winking charisma that made his previous unsavories so palatable. Bonus points for sexing up Tilda Swinton and and expressing his love of condiments. We generally drown our burgers in them, but he prefers them on live flesh.

07  "Alex Law" in SHALLOW GRAVE (1994)
I haven't seen Danny Boyle's feature debut since the 90s but it was one sick and slick calling card with a very young long haired Ewan acing his soulless roommate act.

06 "Catcher Block" in DOWN WITH LOVE (2003)
He probably owed this flirty cocky shot at romantic comedy headlining via Moulin Rouge! but who is better suited to it. Plus, he looked so good in his suits. This is a movie I keep meaning to rewatch.

05 "Curt Wild" in VELVET GOLDMINE (1998)
We mentioned 'wild child' earlier. None of his roles embrace that concept quite as obviously. Ewan, who doesn't leash himself when acting (to our eternal gratitude), played the hell out of this unpredictable glitter-spraying, pants-dropping, drug-taking, boy-kissing, fucked-up rock star morphing from glam rock abandon to... sedated "Curt" Cobain?

NSFW

04 "Phillip Morris" in I LOVE YOU PHILLIP MORRIS (2010)
That twinkly-eyed sweetness was used to great fey affect in this uneven but funny romantic comedy about a gay romance that bloomed in prison and couldn't quite break wiggle out from behind those bars. Have any of you seen this yet? So many actors biff it when they play up "gayness" but Ewan, always so at ease on camera and free of judgements toward his characters (think about it) came across so naturally. Few actors are as good at playing romance onscreen, he nearly always makes a solid case for why the other actor/actress is gaga for him.

03  "Oliver" in BEGINNERS (2011)
A great part of the success of this whimsical melancholy exploration of a dying gay father (Christopher Plummer) and his lonely straight son (McGregor), is how sympathetically Ewan embodies the role and how much chemistry he always has with co-stars. Loneliness can be a huge self-sabotaging drag in real life -- often turning people off when the sufferer needs to connect -- but in the movies it tends to evoke empathy in audiences. You watch and you wait and you desperately want Oliver to find love and happiness and to smile broadly and often... partially because he's Ewan McGregor. Stop hiding that famous grin!

02 "Rent-boy" in TRAINSPOTTING (1996)
A performance worth diving into a toilet bowl to experience.

image via "fucking awesome ewan"

"Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big television to watch Ewan McGregor movies on!' (This film should have netted him his first Oscar nomination with ease. Alas... he's still waiting.)

1 "Christian" in MOULIN ROUGE! (2001)
When The Film Experience did a "Favorite Actors of the Aughts" in 2005, Ewan McGregor landed in the top 5 (yes, I hope to republish that later this year -- donate -- to look at the entire decade rather than just its first half) and here's what I had to say, paraphrased for this new context.

Ewan makes me feel. He makes me smile. Some actors we relate to as identity surrogates. We want to be them or see the story through their eyes. In the case of McGregor I find I'm always the other characters; I'm always with him. The apotheosis is the "Elephant Love Medley" scene. Like Nicole Kidman's 'Satine' I usually start out trying to resist Ewan McGregor (my critical/cynical self usually in control). As he keeps battering away at my defenses with his unique spark, humor, and openheartedness (both as character and actor), I start to cave. I resist, I complain, I explain all the reasons why not. But before long I am totally his.

It still applies. Come what may...

Hit Me With Your Best Shot: "MOULIN ROUGE!"

In the Hit Me With Your Best Shot series we look at pre-selected movies and name what we think of as the best (or at least our favorite) shot. Anyone can play along and we link up. Next wednesday's topic is Fritz Lang's noir "The Woman in the Window".

But tonight, we celebrate Baz Luhrmann's "Spectacular! Spectacular!" which went wide on US screens ten years ago on this very day.

MOULIN ROUGE!

SHE'S CONFESSSSSSSIIIIINNNNGGGG!
She suddenly had a terrible desire to go to a priest."

We begin with a confession.

Though I was an early veritably possessed cheerleader for Moulin Rouge! since I beheld its genius on opening night at the Ziegfeld theater in NYC, though I saw it five times in the movie theater (a post '80s personal record), and though I named it Best of the Aughts when the decade wrapped, I hadn't actually sat down and watched Moulin Rouge! in full for at least five years. This wasn't intentional. I wrote about the movie so often from 2001 to 2005 that at some point I just put it on the shelf, afraid of breaking its spell. I worried, sitting down in the dark, the remote far from me as if I were back in the temple of the movie theater, 'would it still thrill?'

A silly question it was. From the first frames I was swept up. By the time Zidler and his diamond dogs came rushing at the camera (best shot!?!), a chaotic swishing mess of vibrant color, sexual promise and mashed-up music, I forgot to take any notes at all. By the time Satine, the sparkling diamond, descended from the ceiling onto the dance floor, I had completely blanked on the the "best shot" assignment. So, returning to skim again today, a decision: I would only choose a shot from the film's second half, which I haven't written as much about.

Moulin Rouge! famously borrows, sometimes with song and other times visually, from dozens of famous musicals but it's comic/tragic masks are not unlike the work of the great Stephen Sondheim. In many of Sondheim's most famous musicals, he starts out light and comic and you leave the theater at intermission for fresh air that you don't even need since you're already walking on it. Within seconds of returning to your seat, he's out to crush your heart. Into the Woods provides a famous and literal example: the first act, which is a play on famous fairy tales, ends with the "ever after" part. When you return for the second act you're left to wonder what comes next and that "happily ever after" part sure turns out to be a false bill of goods.

And so it goes with Christian and Satine's romance, which comes on, like the whole of Moulin Rouge!, in a heady hallucinatory rush of color, comedy and eroticism and then dives straight into tragedy after the (literal) romantic fireworks. Consider the juxtaposition of the shots above, one when Christian sings "I-I-I-I-I-I will always love you" (best shot!?!) and Satine is fully on board" and the much later shot of Satine, realizing she has to give Satine up singing "today's the day when dreaming ends" (best shot?!?) which she sings with her eyes glassy, not really looking at the caged bird sharing the frame, who we already know she feels a kinship towards (Someday I'll Fly Away). Both shots are audaciously clichéd, but that's how Moulin Rouge! plays it, boldly throwing ALL tropes at you and daring you to not reembrace them in a fresh dizzying form.

Zidler himself precipitates this vacant "you're dying"/ 'I'm already dead' staring and the longer I live with the movie the richer the Zidler/Satine relationship becomes. So for the moment, and there are roughly 100,000 shots worthy of the name "best" in the film, this is the one that absolutely kills. A slow cold zoom out on Zidler performing Zidler as The Maharaja (aka also the Duke) claiming Satine all over again. It drains the last life from our heroine. Art is imitating life and then life will imitate the art again.

She is mine. She is mine."

The cinematography by Donald McAlpine which so deserved the Oscars that year (sorry LotR), loves to shoot Nicole Kidman with blue light whenever she is bereft of love. Even in the "Elephant Love Medley" when she's first resisting Ewan McGregor she's lit in blue while he is glowing with warmer light right behind him. By the end of "Spectacular! Spectacular!", beginning with the exact moment when she coughs on stage, all the hot pink light which had been battling it out with the blue, vanishes to leave her like this.

She is mine. She is mine."

She always was... Zidler's that is. Christian was never able to steal her away, only playing with her in her gilded cage for that Summer of Love, 1899.

Madonna's classic "Like a Virgin" number is only used comically in the film, to mock the prostitute/john Satine/Duke relationship. But it could just as well have been used dramatically, with Satine in Christian's arms; thawed out, shiny and new. This beloved movie, ten years familiar, can still touch you for the very first time. It hasn't lost a drop of heart or magic in a decade's time. 

 

18 Children of the Revolution
Visit these fine blogs for more on this "Spectacular! Spectacular!"

• Victim of the Time "vibrant infatuations"
• Film Misery Christian, trapped
• Amiresque the blue eyes of Moulin Rouge!
• Cheap Seat Reviews thank you for curing him of his ridiculous obsession with love!
• Intafada afternoon delights
• Movies Kick Ass the camera loves her
• Film Actually "You're daying, Satine"
• Being Norma Jeane Midnight in Paris?
• Stale Popcorn "brash. cold. bright"  You can can can.
• Mosaical Musings "Roxanne... you don't have to put on the red light."
• Ahora Satine and her beauty.
• Derrek's Tumblr "romance on a grandiose scale"
• Moved by a Screen Dream Christian in agony
• Antagony & Ecstasy when in doubt, go puerile.
• Serious Film love/hate relationship: best and worst shot.
• Awww, The Movies couldn't possibly choose one.
• missemmamm "smoldering temptress?"
• Sketchy Details a sunny moment via "Come What May"
• Sorta That Guy a love that will live forever!

 do you love the film experience, consider a donation to keep it a daily experience.

Mix Tape: "Perfect Day" in Trainspotting

Andreas from Pussy Goes Grrr here, with the scene that served as my introduction to Lou Reed.

At his best, Danny Boyle knows how to mix memorable visuals, dynamic editing, and pop music into one striking, powerful package. The overdose scene in Trainspotting, his saga of Edinburgh heroin addicts, has all this and more set to the morose tune of Reed's "Perfect Day" (an ironic song title if there ever was one). Anti-hero Mark Renton, eager for "one fucking hit," returns to the desolate apartment of a sleazy dealer, where he shoots up... only to fall into a catatonic stupor, which Boyle represents by having him sink into a hole in the carpet, as if into a grave.

This is when Reed's flatly casual voice breaks in, singing the lyrics ("Just a perfect day, drink sangria in the park...") in a subdued tone that belies their supposed cheerfulness. As the dealer deposits Renton's immobile body on the street to wait for a taxi, Reed bursts into the chorus, and already the irony is palpable: clearly, Renton is having anything but a perfect day. But the irony goes far beyond that simple "happy song, sad scene" incongruity—because the song is self-contradictory to begin with, and the scene isn't merely sad.

Boyle's depiction of the overdose traffics in the same dark, sometimes satirical humor as the rest of Trainspotting, and it's shot in the same kinetic, self-conscious style. For example, the burgundy carpet, which blinkers Renton's POV shots while he's unconscious, functions as both a metaphor for his isolation in the depths of his overdose, and as a bleak visual joke. Similarly, the grim way he's passed along from dealer to cabbie to hospital orderlies borders on kafkaesque. This is no self-serious afterschool special; Boyle has an eye for the funny side of excessive drug use.

This clash between tragic subject matter and flashy style could come across as ridiculous or tasteless, but any such tonal ruffles are smoothed out by the faultless use of "Perfect Day." Despite occasional dips into ironic enthusiasm on one end and melancholy on the other, Reed's voice is stable throughout the song, almost to the point of monotone; this makes it the ideal song to accompany Renton's comatose journey to the emergency room. Even in its loudest, most climactic moments, "Perfect Day" is still as steady and patient as an elevator ride, and balances out the bounciness of Boyle's camera.

And throughout the scene, it offers a bittersweet lyrical counterpoint to Renton's current predicament, with the line "You just keep me hanging on..." ringing out just as the dealer shoves Renton into the back of the taxi, and the closing refrain, "You're going to reap just what you sow," as a dire reminder that he brought this miserable situation upon himself. It's also starkly appropriate that a song partially about self-delusion and ignoring one's problems should arrive in the center of a film about drug addicts.

According to rumor, "Perfect Day" is actually about heroin, and that may be case, but its usage here isn't just a matter of finding a song whose topic matches the film. (Had that been the case, Lou Reed wrote a song called "Heroin" that could've been used instead.) The scene derives much of its sticking power from the very precise interplay between the song's unique tone, the editing, and the camerawork, which together sustain a forlorn mood laced with many ironies. This seamless integration of visuals and music brings a light touch to the protagonist's near-death and rebirth, and forever entangles "Perfect Day" with the image of Ewan McGregor dying in a carpet.

The Lord of the Links: Two Jacksons

Cracked uses that late minute reworking of the Red Dawn remake as a jump off point for a very funny article on "6 Groups Who Don't Work as Movie Bad Guys Anymore". I'm not proud but I even ended up LOL'ing at a poop joke.
Boy Culture Jesus. I was on to something posting that "stars as other stars" post just a few days back. Now Madonna went and did Charlie Chaplin for Purim. Cute.
Little White Lies has a nice piece on double readings of Blade Runner depending on whether you view Deckard as a Replicant or regular human man.
My New Plaid Pants Tom Hardy on the other hand is no machine but man. He's got the peen to prove it in a new digital short [NSFW].
Ester Goldberg is that Barbra Streisand Gypsy movie really dead? Some people aren't letting the ghost go.
Cinema Blend has an alarmist headline "No More Nudity For Ewan McGregor". I'm not sure that the quotes support the headline but made me look. You win.

And finally Awards Daily shares the first photos from the set of Peter Jackson's The Hobbit. I know it is probably my duty as a huge fan of the Lord of the Rings trilogy as well as a denizen of planet Earth to be excited about this movie... er movie²... but I think it's a terrible idea.

The Lord of the Rings trilogy was so Aughts-defining in a way and why not go out on a high note like, I dunno, sweeping at the Oscars? Just a thought, Peter. I can't see how this won't feel like either

a) a rerun retread reboot
b) nostalgia exercize / faded glory
c) The Lord of the Rings Episode IV: The Phantom Menace.

Oh shush. I feel that "C" is a fair barb given the tonal "I completely forgot how to direct" chaotic atrocity that was The Lovely Bones. But I'll allow that maybe this is just cynical fretting. As a huge fan of LotR and Heavenly Creatures even moreso and even as an admirer of that Meet the Feebles gusto, I'll always hope that Jackson can work new magics.

Reader of the Day: Cory

Today's Reader of the Day is the first in the series that I've actually met. We sat down for coffee last year while Cory from Canada was in town having a meeting about something so secret I couldn't even begin to tell you what it was. Perhaps he works for the CIA? But he was chatty about movies and that's what we love best!

Nathaniel: Hey Cory. Good to "see" you again. Do you remember the first movie or first movie obsession?
CORY: I feel like I’m on ‘Inside The Actor’s Studio’ right now.  This is awesome! The Great Mouse Detective.  I think I was about 3 years old, and it was for sure my first movie theatre experience.  We got ¾ of the way through it when my little sister regurgitated a bag full of Nibs all over my father.  So I guess I just remember the first movie that I got ¾ through.

My first movie obsession, which birthed the entire concept of out-of-control obsessions for me, was The Shaggy Dog.  It was in no way a healthy one.  I think I watched it every single day for about 6 years.  In second grade I actually managed to convince myself that the recess bell was my own personal trigger to transform into a sheep dog.  I spent every single recess for a full year absolutely convinced that I was indeed a dog.  Needless to say I had a very lonely year.

When did you start reading The Film Experience?
I can separate my teen to adult years by what my favourite film website was in each section of my life.  Mrshowbiz.com was most of my teens.  I was devastated when that stopped existing. Thankfully I managed to find Sasha Stone after that which led me to you. TFE is easily my most visited site on the interweb and I hope I never have to go hunting for a new favourite again. 

What's your filmgoing diet like these days?
These days, i.e. the last few weeks, my film diet is an anorexic one.  Not one movie has been watched and it feels great.  I LOVE not watching movies.  It’s the best!  Every February, like yourself I imagine, I end up waking up and watching movies until it’s time to go back to sleep.  On repeat.  For 28 days.  By the end I hate the entire concept of filmmaking and wish that I was sane enough to JUST MAKE MYSELF STOP!!!  I’m not.  It will happen again next year.  But I guess I should probably rewatch Mildred Pierce (1947) pretty soon.  

Three favorite actresses. Go!
The most difficult question on Earth.  Ok.  Just do it Cory.  First to enter your mind: Liv Tyler, Grace Kelly, and Michelle Williams.  Damn!  Is that even close to right???  I think so.  But what about Rachel Weisz...  I ask myself?  And Penélope Cruz...  reads my next thought bubble?   You can’t leave out Diane Keaton...   says a very logical part of my brain.  Yes!  I fit in six.  Get me away from this awful question.

 

Biopic of your life. Who plays you? Etcetera.
I’d have to cast by era here and my movie might as well be called, ‘Eras’.  (No that’s dumb.)  My teen years need to be portrayed by Ewan McGregor...  and it will be easy for him to do so as he can just play Christian from ‘Moulin Rouge!’.  I was an overboard romantic, a naive and passionate romantic.  I still am.  I’ve just learned to internalize it.  I even wrapped myself in a box for a girl once and got someone to drop me off in front of her locker.  I hid in it for 40 minutes with chocolates and flowers.  There was a crowd surrounding her when she opened it and I popped out.  She dumped me three days later.  Lesson learned.  Movies don’t necessarily reflect real life.  I believe this was considered to be ‘creepy’. 

My early 20s could be played by Ethan Hawke.  The way he conveyed his curiosity and excitement about life in, ‘Before Sunrise’ has always moved me and felt very much like a reflection of my precise existence.  I felt the very same way about his performance in ‘Great Expectations’.  Passionate.  Sensitive.  Passionate.  Passionate.  Passionate.  I adore his aura.  The last 5 years of my life...  maybe John Krasinski??  I don’t know.  He’d have to up the intense factor.  But he performs very matter-of-factly and gives off a very logical aura.  I speak a lot about auras.  Maybe the film should be called ‘Auras’.  Anyhow...  Krasinski seems to be able to convey ‘keeping it cool’ while in very intense situations.  I think that’s what I’ve mostly been doing for the last five crazy years.  Finally, I feel like I am slipping into a Hanksian era of my life.  I’ve always felt an attachment to Tom Hanks.  Passionate and funny.  I think that’s what I am right now.  I’ve turned into Tom Hanks. I’ll take it!