Showing posts with label Beautiful Boy. Show all posts
Showing posts with label Beautiful Boy. Show all posts

Sunday, July 15, 2012

Nature Vs. Nurture Revisited: The Young and the Potentially Murderous

There's a story currently playing out on The Young and the Restless that's totally sucking me in to the otherwise barely watchable daytime soap. It revolves around private investigator Paul Williams (played by Doug Davidson, who should have a shiny new Daytime Emmy Award on his mantle by this time next year), and his now-late son Ricky (played by Peter Porte, who should be regularly popping up in prime time or feature films any month now).

Paul recently shot Ricky in the arm to stop him from killing another character, Eden (unconscious at the time), with one of the scariest-looking knives I've ever seen. Falling backwards, Ricky tumbled through the bathroom window of his hotel room to his death three stories below. I'll spare you the gruesome details and the gaping plot holes, because there are quite a few of both, but for me, the storyline has resurrected an interesting theme -- nature vs. nurture -- one that kept popping up onscreen last year, in moves like We Need to Talk About Kevin and Beautiful Boy.

In the last few Y&R episodes, Paul has been blaming himself not only for his son's death but also for his every misdeed, which includes up to three murders. He's been telling anyone who will listen, including his ex-fiancee and attorney (the same person), that he's a terrible man who probably belongs in prison. He might actually end up there permanently if that scary knife isn't found, or if Eden, now suffering from amnesia following a blackout after hitting her head on the tub in Ricky's bathroom during a tussle with him, doesn't gain back her memory to corroborate Paul's story.

Why is Paul accepting so much blame? Because he was a rotten father. While Ricky was being raised by his maternal grandparents in California (his mother has been in an insane asylum ever since she went after one of Paul's girlfriends -- the ex-fiancee/attorney -- in the bathtub with another scary knife), Paul was in Genoa City, Wisconsin, never seeing his son because he was too busy doing whatever Y&R story dictated.

Thanks to the dictates of his current story, Paul has enough to deal with, almost too much (not to mention, a perfect excuse, should he ever need one, for not making any weekend trips to the West Coast). The prospect of going to prison for first-degree murder -- with which he was formally charged on Friday's episode before being denied bail -- is scary on its own. I can't imagine having that horror compounded by so much grief and guilt. I wouldn't wish the grief-guilt combo of losing a child and feeling responsible for it on the worst father in the world, whom I certainly wouldn't kick when he's down by assigning him responsibility for everything his late child ever did wrong.

Those who contend that we're all a product of our environment, and that our collective experiences make us who we are, would no doubt say that even if Paul is cleared of the murder charge, he's still guilty because he was a crappy father. Guilty of being a crappy father, yes -- there's simply no excuse for being an absentee dad when you've got all the means not to be one -- but not because of it. With a murderous mother (who was played by Eva Longoria, before she became a desperate housewife) and a murderous paternal aunt, both of whom are currently in mental institutions, what hope did poor Ricky have? The odds were pretty much stacked against him from the moment of conception.

Sure he could have turned out to be a model citizen with Paul's guiding light, but who can say for certain? It still may have come down to that messy confrontation in a hotel bathroom. Having children can be like Russian Roulette -- you simply never know what you're getting, or with whom you'll end up. Kids with excellent parental role models sometimes turn out to be criminals, and criminals sometimes produce productive, law-abiding children. In hindsight, most of us had pretty fucked-up childhoods. That's between you and your therapist. But at some point, the actions of grown women and men, which Ricky most certainly was (for proof, Google search or YouTube search "Peter Porte shirtless"), are all on them.

I don't mean to downplay the influence of one's environment, but neither should the influence of nature be underestimated. We're all born with our unique predispositions. Some of them can be effected by our surroundings, others are stronger than the world around us. Siblings raised in the same household with the same parents don't grow up to have the same personalities, or even the same moral fiber. The sons of a man who beats his wife don't all grow up to do the same any more than do Olympian athletes spawn only the same. On Y&R, Paul's sister is locked up, and his brother is a priest!

Hopefully, Paul will eventually stop blaming himself -- for Ricky's murderous activities, not for being a terrible father. But I hope he doesn't get over it too soon. Thanks to his committed performances, I'm enjoying his guilt trip as much as I enjoyed Tilda Swinton's in We Need to Talk About Kevin, and I haven't been so impressed by snot pouring out of an actor's nose since Viola Davis became famous in less than 15 minutes of screen time in Doubt. Come to think of it, she was dealing with a troubled son, too, and totally screwing up cause and effect.

Let this be a lesson to all the parents out there who are taking on too much, including the actions of their kids. The applicable idea is not so much nature vs. nurture as it is nature working with nurture to determine who we are and how we act. Sometimes the best that you can do as a mom or dad is nurture your kids as much as you can, set an excellent example, and then sit back and let nature do her thing.

Tuesday, December 27, 2011

6 Random Thoughts I Had While Watching 'Carnage'

1. Here we go again! Yet another movie touching on how parenting techniques might influence children to do terrible things, and how difficult it is for parents to really know their kids and what they are capable of doing. Fortunately, unlike in Beautiful Boy and We Need to Talk About Kevin, no lives are lost in Carnage, just a couple of teeth. It does, however, make me feel a little relieved to be childless and unlikely to be held responsible for anyone's actions but my own.

2. I wish Jodie Foster would work more often. I haven't seen her in anything since catching The Brave One on a Buenos Aires-to-Lima LAN Chile Airlines flight in 2007. But why do her neurotic tics in this movie remind me so much of Monica on Friends?

3. Some plays belong on the stage. The actors here are certainly talented and so is the director (Roman Polanski), but this story about four parents at odds over their warring sons doesn't feel quite right on film, and not just because of the single, claustrophobic set. The cast (particularly Foster and Kate Winslet) play the material broadly, which would make it funnier onstage, but unless the point is low-brow comedy, isn't quite appropriate for film, a medium where less is generally more. I wish I were watching the Oscar-caliber quartet (which also includes Christoph Waltz and John C. Reilly) working its acting magic at the Garrick Theatre in London's West End.

4. Could I get an apartment like this in New York City without paying a fortune? Michael Longstreet (Reilly), a guy who sells decorative hardware like doorknobs and toilet-flushing devices, and his wife Penelope (Foster), who works in a bookstore and has written one book (which I presume was not a best-seller), certainly have a large, lovely home. If I ever move back to New York, I might have to get over my Manhattan snobbery and consider setting up shop in Brooklyn.

Portrait of the actor as a young man
5. Christoph Waltz is such a handsome guy (and an excellent actor, too). I wonder why nobody in the U.S. noticed him until Quentin Tarantino cast him in his Oscar-winning role in 2009's Inglourious Basterds. I'd go so far as to say he's the best in show here, and not just because the Austrian-born thespian does a fine American accent. He and Jodie Foster should do a movie together. They have a strange chemistry in Carnage, and I keep imagining them having hate sex before the final credits roll. I almost wish he had been cast as her spouse, and Reilly had been cast as Winslet's. Since he's almost 20 years older than Winslet, 36, and Reilly, 44, is only about eight older, the age combinations (Waltz is 55, Foster is 49) would have made more sense.

6. I find vomiting in inappropriate places funnier than I probably should. Maybe it's because it's been a couple of decades since I've done it. But If my house guest puked all over my precious art books, I think I'd have to toss them out along with the company. I know Penelope's are out of print, but you can find a replacement for pretty much anything on eBay. Thankfully, the liquid-projectile release (beautifully and hysterically enacted by Winslet) spared the laptop!

Monday, December 26, 2011

Burning Questions: The End of 2011 Edition (Starring Kirsten Dunst, Bangkok and Shooting Sprees)

Where the hell is Garbage? It's been nearly seven years since Bleed Like Me, and music could certainly use an injection of Shirley Manson's bad-ass glamor and hard-core attitude right about now.

Now that the Black Eyed Peas are on hiatus, can we finally expect Fergie's follow-up to The Dutchess, her 2006 solo debut? Katy Perry could certainly use the Hot 100 competition right about now.

Why Michelle Williams and not Kirsten Dunst? Both costarred in well-received films with Ryan Gosling last year. Williams scored an Oscar nod (for her efforts in Blue Valentine), Dunst did not (for hers in All Good Things). This year, Williams is pretty much guaranteed a second consecutive Best Actress nod (and third overall) for My Week with Marilyn, while the never-nominated Dunst is considered a mere long shot for Melancholia, despite winning Best Actress at the Cannes Film Festival. Though I still don't understand why Dunst's Justine is the only one in her screen family who speaks with an American accent, Dunst delivers one of the most vivid depictions of intense depression that I've seen. This should be her moment.

Was it something they said -- or didn't say?
What was it with 2011 and movies about parents raising mass murderers? In We Need to Talk about Kevin, Tilda Swinton and John C. Reilly's kid used bows and arrows. In Beautiful Boy, the title character did it the old-fashioned way, with gunfire. At least the murderous offspring of Maria Bello and Michael Sheen's characters had the guts to off himself, too.

Should parents be wary of a quiet, withdrawn child with very few friends? That's one theory that Maria Bello's character threw out there in Beautiful Boy, that maybe she and her husband should have seen that as a clue that he might turn out to be homicidal/suicidal. But aren't great artists sort of born that way, too? Yes, the boy's strange behavior on the phone the night before his shooting spree was odd, but that's how people act when they are depressed (see Kirsten Dunst in Melancholia), which doesn't always lead to acts of extreme violence. The bottom line: Some things in life are random, as impossible to explain as why non-smokers get lung cancer. "Was it something that I did?" my mother asked when I came out to her. If it had been, all of her children would be gay, not just two of them. Sometimes all the vigilance and good parenting in the world won't stop what's going to happen from happening.

Speaking of Michael Sheen, why do British (and in Sheen's case, specifically, Welsh) actors always have to lose their accents to star in American films? Are there not people with British accents in the U.S.? Or do directors fear that U.S. audiences won't be able to understand British accents. I'll admit it: Sometimes I struggle with them. I've had to turn on the subtitles while watching my Absolutely Fabulous DVDs and occasionally had to read the Spanish subtitles to understand what the actors were saying when I saw The Queen and Notes on a Scandal in the cinema in Buenos Aires!

Why does parting always bring such sweet sorrow even when we're excited about where we are going? I'm thrilled to be returning to Melbourne a few days into 2012, and I probably overstayed my welcome in Bangkok by about a month, but I'm still getting teary-eyed over my impending departure. What will DJ Station do without me?

And now for your listening and viewing pleasure (one of the best things about the 1990s)...