By: debbie lynn elias
If I knew nothing at all about FILTH AND WISDOM before walking into the screening room, within moments one thing would be patently clear – the fingerprints of everyone’s favorite chameleonic pop diva, Madonna, are indelibly etched in the celluloid. Yes folks, FILTH AND WISDOM, perhaps Madonna’s own mantra for getting in touch with one’s inner self (and one whose conceptualization and definition I can relate), marks her debut as a writer and director. On the one hand, given the film’s high caliber (despite some unevenness in the story) and explosive expressiveness, I can’t believe this came from first time filmmaker Madonna. On the other hand, from the opening frame, every character, every scene, every prop, every camera angle, the high polish art house production values, all screams Madonna. FILTH AND WISDOM is so enjoyable, so entertaining (thanks to the incomparable Eugene Hutz), so rockin’, that given the tabloid fodder over the Material Girl’s divorce, one has to wonder if her talent being superior , even as a first time director, to that of soon-to-be-ex Guy Ritchie, isn’t a contributing factor of causation. Her eye and this film is that good.
A.K. is a poetic, philosophical, Ukranian gypsy punk/pop singer who dreams of being a famous singer. Spending a lot of time in his bathtub, clothed and unclothed, drinking, smoking, and doing who only knows what else when company is around, in his thick European accent AK generally opines and orates about his philosophies on life, often recalling vignettes of his youth and Ukranian folklore. Funny, charming, entertaining and surprisingly thought provokingly cogent, his poignancy, fundamental decency and kind heart somehow manage to bubble to the surface making him irresistibly endearing. Sharing his cheeky London flat are Holly and Juliette. A trained ballerina, Holly is flat broke and doesn’t know what to do to make ends meet while she continues to train and wait for her big break. Juliette, an assistant pharmacist, spends her days collecting money for her dream of travelling to Africa to help children orphaned by AIDS. Fiercely protective of his friends (and okay, he is smitten with Holly), AK is always there to lend a hand, give some advice, or get Holly a job in a strip club as a pole dancer where clothing is actually kept on. Oh, and did I mention what AK does for a living while he bides his time waiting for his big break? How about male prostitute/professional sadist fulfilling sexual fantasies for those tired browbeaten spouses out there and of course, running errands and aiding his neighbor, a renowned poet who has gone blind.
At the heart of the story are AK, Holly and Juliette, but it doesn’t take long for us to be introduced to some of AK’s more entertaining clientele, Holly’s co-workers and Juliette’s Indian boss and his family. Their stories are so intricately interwoven that each feels like extended family as we come along on their journey of day-to-day survival while still pursuing and never giving up on their dreams. (Hard to believe, but yes, this is a very much a feel good movie filled with sentimentality.)
I confess right now. I am enamored with Eugene Hutz who also just happens to be lead singer of the internationally renowned gypsy punk band, Gogol Bordello. Funny, sexy, self-deprecating, as AK, Madonna utilizes his explosive and welcoming personality setting the film’s tone by having him basically serve as narrator, speaking directly to the camera and us, as he goes through his days as AK. Hutz is magnetic. A scene stealer. Animated. Alive. Confident in who he is but still “searching” for answers. Emotionally tapestried and textured like his gypsy self. His very matter-of-fact delivery and philosophies are refreshingly welcome. And while he can be as crude as can be in one breath, he sets you on your heels with a very heartfelt emotional moment, such as that with Professor Flynn when Flynn is sitting essentially “comatose” telling AK to leave. The poignancy is exquisitely tender. Vicky McClure brings layers of emotional texture to Juliette, slowly intimating through sparse, yet terse words, to the incest she suffered as a child. It is perhaps McClure who brings the greatest depth and growth to her character with effortless ease, strength and determination. Holly Weston is enchanting as Holly. Be it as a ballerina or sliding up, down and around those poles or doing her best Britney Spears “Oops, I did it again” impersonation (which brings the house down), she has a sweetness that is infectiously warm, making it easy to see why a character like AK could fall in love with her. An outstanding performance comes from Richard E. Grant as the trio’s blind neighbor, Professor Flynn.
Written by Madonna and Dan Cadan, it is easy to see that Madonna followed one of the basic rules of Writing 101 – write what you know. In every character, every scene, every costume, antic or personality trait, we see pieces of the Madonna we have come to know over the past 30 years. There is a welcome familiarity that adds to the sentimentality and affectation that develops as the film progresses. Sex of course plays a huge part in who Madonna is and when you look at the sexual games played by our “hero”, each scene and prop is something iconic out of one of her tours (think Gautier, bras, saddles and riding crops to start). With this film, you clearly see what is near and dear to Madonna. And tongue-in-cheek, self-deprecating humor plays a heavy hand as well.
This film reads like a collage of Madonna and her various incarnations over the years. Each character exudes one of Madonna’s personas; each scene is taken right from her life or from a tour. The issues presented are lifted right from the news headlines and Madonna’s life experiences (i.e., African children with AIDS). And the humor! Ribald and raunchy – just like her. The philosophy of the film is brutally honest and when you stop and think about the message and the rationale of the thinking, she is right on. You have to land in filth to find wisdom and if you have wisdom you eventually find your way to filth. Two sides of a coin. Two sides of life. She is right on the money.
From a writing standpoint, the story is kept simple. Each character is well developed, despite a minimum of backstory. What I find so interesting is that Madonna shows us more about the human nature and background of each character through their present day circumstance and frustration over attaining their dreams. The only slightly muddled backstory is that of Juliette and her sister. It takes a while to figure out that she left home because of being abused by her father. Given the visual, Madonna didn’t need to go into detailed verbal histories which bodes well as it gives the audience a chance to just breathe in this experience.
As a director, Madonna keeps a firm hand on every scene. Exploring emotion and setting tone through the camera and first person narration. The lensing is terrific as is the camera blocking which is key to this particular film. Cinematographer Tim Maurice-Jones was an inspired choice. I’ve seen his earlier work with “Snatch” and that is obviously what drew Madonna to him for FILTH & WISDOM. Likewise with Gideon Ponte as production designer. His work was impeccable in “The Notorious Bettie Page”, using production design to not only create different eras but different personas. Ponte goes one step further here with the added fluidly of multicultural blending. Fluid and seamless. And the use of color and light, as with a stage show, and so crucial to this film, is beautifully incorporated and executed.
Highly stylized like a music video, Madonna’s comfort zone is crystalized. She is familiar with razor edged editing in music videos and incorporates that here. She is drawn to the unconventional camera angles and likes to mix media in her shows, and she incorporates that here. The editing team does some beautiful work.
But a real standout is her use of music and particularly that of Hutz and Gogol Bordello. Its high energy kineticism propels the film even further, lifting us over a few unsettling scene changes; particularly with “Wanderlust King” which is a rousing anthem to not only Hutz’ life but that of his character AK.
Enticing, entertaining and yes, sexy, but with a sentimental poignancy all its own, the best bit of wisdom I can offer you this week is to check out FILTH AND WISDOM. The Material Girl has reincarnated yet again. I can hardly wait to see what she’s got in store for us next.
AK – Eugene Hutz Holly – Holly Weston Juliette – Vicky McClure
Directed by Madonna. Written by Madonna and Dan Cadan. Rated R. (81 min)
