Product: To Die For (1995)
Rating: 4.0
Season of the Witch
In contrast to "Direct Cinema" (a documentary style in which the filmmakers do not involve themselves in the action- the camera being all seeing and unobtrusive-even hidden), "Cinema Verite" permits the presence of the camera to make a difference in the reactions of those being filmed. Both documentary styles allow a degree of narrative freedom not permitted by the conventional Hollywood-style of a chronologically ordered series of dramatic scenes.The unique feature of "To Die For" is the use of both the "Cinema Verite" and the conventional narrative styles in the same film. Van Sant inter-cuts a traditional dramatic storyline with simulated documentary style commentaries by the principal characters. The commentaries are not just retrospective, they jump around in time and it is not entirely clear the order in which the interviews took place. Four years later "Drop Dead Gorgeous" would be made entirely out of simulated interviews.The interplay of the two narrative styles in "To Die For" is critical to the advancement of its theme about the contrasting public and private faces each of us constructs. The irony is that the faces presented in the documentary interviews are much more human and revealing than their counterparts in the dramatic scenes. Perhaps not surprising given our "camera whore" compulsion, these characters are guarded and private when interacting with each other but liberated, open, and out-there when being interviewed.The most interesting aspect of all this is the plausibility of Kidman's character. At times Suzanne comes across as narcissistic, manipulative, complex, and sophisticated; at other times shallow and naive-dumb. This contrast is because to Suzanne every waking moment is an on-camera moment, yet she is only vulnerably human during her actual on-camera moments. She embodies, to an extreme degree, feelings we have all had in smaller and more subtle ways. She simply lacks the skill and/or desire to conceal them. Almost everyone has encountered someone who, while a skilled manipulator, is utterly clueless as to the transparency of their motives to everyone but the person being manipulated.Kidman's performance is inspired. Her clothes, her speech, her makeup, her hair, and the way she carries herself all make for a unity of complete self-absorbed superficiality. Suzanne pities us mere mortals - not because we are mortal but because we are not her.The producers seem to have gotten a little confused about just who was their target audience, which would account for the film's poor performance at the box office. Although not exactly "high-brow", the movie is obviously geared to a relatively sophisticated audience who can relate to black comedy, parody, and its psychological message. But instead of giving their film a unified style (which consistently connects to that audience), they throw in a lot of crude humor and gross cartoonish behavior more appropriate to a teen comedy. Their target audience and even the type of teens who might enjoy this movie are more put off than amused by this stuff.Which gets into the issue of trimming. The pace of the film is a little slow and the scenes where Suzanne seduces James are embarrassingly moronic and unconvincing; although the seduction dance is exceptional. If they trimmed 10-15 minutes from the middle of the film it would have better unity and would move along faster. The seduction angle would work better if kept off screen, there is enough explanation of these events in the various retrospective on-camera interviews. And they should lose some of the Buck Henry crazy teacher stuff-it works once but then becomes repetitive and unfunny.Illeana Douglas is wonderful as Suzanne's disgusted sister-in-law, who closes the film skating on the frozen lake containing Suzanne's body as the credits roll and Donovan's "Season of the Witch" plays. Very cool!Then again, what do I know? I'm only a child.