Laurel Canyon (2003) Rated: R for sexuality, language and drug use. Runtime: 103 mins. Director: Lisa Cholodenko Writer: Lisa Cholodenko Cast: Frances MCDormand; Kate Beckinsale; Christian Bale ....complete cast Genre: Drama
Tagline: On the road to the perfect life, Sam & Alex took a little detour. Memorable Quote: Jane: "Are we ever gonna have a relationship?" Sam: "Here we are - having it."
Reel commentary:The most appealing aspect of Laurel Canyon is watching Frances McDormand ply her craft. This is the finest performance of her career as she immerses herself into the role of a complex character trying to balance her maternal instincts with her carnal desires.......full review
Confused about the ending to Laurel Canyon? Click here to read the Laurel Canyon ending explanation. (spoiler alert!)
by Frank Wilkins Laurel Canyon will initially lure you in with its carefree style, its cinematic appeal and its potent sexiness. But what at first glance appears to be a lazy little character drama in a laid-back Southern California setting turns out to be a deeply involved coming-of-age story that examines all the weighty aspects of fidelity and adult commitments. But credit writer/director Lisa Cholodenko for never letting the film become heavy-handed or overly tedious. Like the clandestine history of the titular enclave, Laurel Canyon is satisfied with being a little dangerous, a bit unconventional and very seductive.
Supporting this tale of sex, drugs, rock 'n' roll and infidelity is the phenomenal performance of Frances McDormand. She plays Jane, a veteran record producer who has a love/hate relationship with her conservative son Sam (Christian Bale), a recent Harvard medical school grad. Sam recently moved to L.A. with his fiancée Alex (Kate Beckinsale) to complete his residency, only to find that his Mom is still residing and producing records in the house that she promised would be unoccupied. Sam is also surprised to discover that his mom is dating the much younger singer (Alessandro Nivola) of a rock band. Humiliated by his free-spirited mom, Sam apologizes to Alex and promises to find a nearby apartment to avoid being subjected to his mom's bohemian lifestyle.
Raised in the traveling rock band scene, Sam tries to be the moral compass of the family that he never experienced as a child. Despite her successful career, Sam views his mother's brash honesty and sexual openness as an embarrassment. In attempting to shield Alex from his mother, he inadvertently causes Alex to be lured by the siren song of a lifestyle that deliciously clashes with her conservative upbringing and Harvard education. Soon Alex is smoking dope with the band, reading Spin magazine, and dabbling in steamy threesomes.
The most appealing aspect of Laurel Canyon is watching Frances McDormand ply her craft. This is the finest performance of her career as she immerses herself into the role of a complex character trying to balance her maternal instincts with her carnal desires. Her uninhibited sexuality as it contrasts with Alex's sexual innocence bears the same forbidden attraction displayed my Mrs. Robinson and Benjamin Braddock in The Graduate.
Cholodenko's choice to close with an open ending is, at first, a bit frustrating. But upon further examination it seems highly appropriate to challenge the viewer with the same tough adult decisions that tempt the characters. We are forced to draw from our own morals and principles to arrive at a conclusion as it might apply to what we learned about the characters.
A mesmerizing soundtrack featuring many of the songs of Sparklehorse, but sung surprisingly well by Nivola, is a nice addition that makes Laurel Canyon a cinematic treat for all the senses.
Extra Features: Color; static menus; Scene Access with 28 cues and remote access; Cast and Crew Filmographies; 1 Original Trailer(s); 3 Other Trailer(s) featuring All the Real Girls, Love Liza, Talk to Her; 2 TV Spots/Teasers; 1 Documentaries; 1 Feature commentary by Lisa Cholodenko
Writer/director Lisa Cholodenko provides a commentary track. She mostly provides scene narration and being from the general vicinity, she delivers a lot of insight. She listened to Joni Mitchell's Ladies of the Canyon album which provided the impetus for making this movie.
The making-of documentary seems to be more of a continuation of the commentary than anything else. In addition to providing additional insight into the making of the film, she also talks about her director of photography, Wally Pfister who also was responsible for Memento and other films.
The navigable filmographies are for Cholodenko and McDormand, Bale, Beckinsale, McElhone and Nivola.
Laurel Canyon (2003)
