Sideways Movie Breakfast
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From: "scott pianowski"
Date: November 10, 2004 7:42:11 PM EST
To: "Salfino"
Subject: a post about sideways, fwiw (from an IMBD message board)
Payne had the final cut of the film - something he was insistent on keeping - so he's obviously got reasons to keep scenes in place. I've always respected his decisions on that sort of stuff - watch the extra material in the About Schmidt DVD and he'll explain *exactly* why scenes were deleted. This provides a lot of insight as to how he goes about his craft.
I think the wallet scene could *possibly* symbolize Miles being willing to take more chances and risks with his life. Remember the scene where Madsen is holding his hand and going off on a long wine soliloquy, almost offering herself to him on the spot? Miles's lack of confidence there undermines him, and he doesn't take the offering, he's not ready, not sure, not able to act (he later lambastes himself in the bathroom for being such a loser). Maybe by the end of the movie, he's been able to find some of that nerve he was lacking earlier. As much as he grows to resent Jack over time, he has picked up some of his zest for living, and it's pumped some much-needed energy into a middle-aged man who was drowning in his own self-doubt and self-pity.
I love that the movie had an open-ended conclusion, and I also like the fact that Jack was never exposed to his fiancee or forced to pay a great price for his dalliances. That's *real life* so much of the time - the handsome, socially-skilled man gets the spoils, while his less-attractive, more-neurotic sidekick gets the crummy end of things, even as much of it is his own fault. I found the final branching of the movie very true to what I would expect to happen in real life. Heck, not long ago, I had a male friendship that very much had overtones of a Jack-Miles pairing. I won't tell you which role I filled, to protect the both of us.
I thought the movie was outstanding, the best Payne film I've seen yet. I said to my fiancee on the way in, "This will need to be fantastic or I'll be disappointed." In the end, I wasn't disappointed.
Some critiques: I felt the wine metaphors were a little long and slightly forced in some spots, and I think the film could have done a better job of tracing Maya's interest in Miles (I can only assume he was charming in earlier visits that happen before the movie starts, because he didn't present someone that was easy to fall for during their screen time together). Other than that, I thought this was as close to a perfect movie as I've seen recently. It's not for everyone - it's deliberate to be sure. But I found it very subtle, very real, and in spurts, very funny, as all Payne films seem to be.
From: Salfino
Date: November 10, 2004 8:35:06 PM EST
To: "scott pianowski"
Subject: Re: a post about sideways, fwiw (from an IMBD message board)
I think symbolic interpretations are mostly BS. The meaning of a piece should be clearly in the text. These types of readings always say more about the critic than the piece. Miles was longing for a mature loving relationship with someone he could relate to personally. Contrast that with his friend and that fat waitress and her husband for God's sake. To me, the literal meaning is this is a guy who's compromised himself in many ways (his job and morally in stealing the money from his mom), but he's maintained some purity with his art (a purity he's desperately trying to hold on to) and his passions for wine and for meaningful relationships. Look at his friend, who's not just lacking in morals but is a total sellout with his voiceovers and real estate ambitions.
I think that's the point that's in the text: some people sell out and other people don't. But if you don't sell out, it's a very tough ride. This makes middle age analogous with that post-adolescent period. In your teens, you make the choices on who you're going to be and those choices can end up making your life very difficult. (There's a great short-story about this called "A&P" by John Updike; and I don't like Updike's longer works much at all.)
Then do you let those rough patches in life wear down those ideals or do you weather that adversity and hold on to yourself. To me, Sideways is a sort of coming of age movie for middle-aged people. By that I mean, late 30s, early 40s.
When you think about it, About Schmidt was a coming of age movie for old people (making the most out of that final act). Election, a straight post-adolescent coming of ager.
From: "scott pianowski"
Date: November 10, 2004 10:03:20 PM EST
To: "Salfino"
Subject: Re: a post about sideways, fwiw (from an IMBD message board)
I thougt the scene with Miles and Maya (doesn't that sound stupid together? anyway) right before he calls himself out in the bathroom was a little trite. Just a little, anyway.
Switching gears, the phone call to the ex-wife was so realistic. It's being compared to the infamous Swingers call, but the Favreau dial quicky spirals into something that's not altogether realistic (though it starts off that way). But what Miles says on that phone, how he frames things, how he's hurting, how he's waxed and it's having it's way with him, that's so freaking real and well done.
From: "scott pianowski"
Date: November 10, 2004 7:42:11 PM EST
To: "Salfino"
Subject: a post about sideways, fwiw (from an IMBD message board)
Payne had the final cut of the film - something he was insistent on keeping - so he's obviously got reasons to keep scenes in place. I've always respected his decisions on that sort of stuff - watch the extra material in the About Schmidt DVD and he'll explain *exactly* why scenes were deleted. This provides a lot of insight as to how he goes about his craft.
I think the wallet scene could *possibly* symbolize Miles being willing to take more chances and risks with his life. Remember the scene where Madsen is holding his hand and going off on a long wine soliloquy, almost offering herself to him on the spot? Miles's lack of confidence there undermines him, and he doesn't take the offering, he's not ready, not sure, not able to act (he later lambastes himself in the bathroom for being such a loser). Maybe by the end of the movie, he's been able to find some of that nerve he was lacking earlier. As much as he grows to resent Jack over time, he has picked up some of his zest for living, and it's pumped some much-needed energy into a middle-aged man who was drowning in his own self-doubt and self-pity.
I love that the movie had an open-ended conclusion, and I also like the fact that Jack was never exposed to his fiancee or forced to pay a great price for his dalliances. That's *real life* so much of the time - the handsome, socially-skilled man gets the spoils, while his less-attractive, more-neurotic sidekick gets the crummy end of things, even as much of it is his own fault. I found the final branching of the movie very true to what I would expect to happen in real life. Heck, not long ago, I had a male friendship that very much had overtones of a Jack-Miles pairing. I won't tell you which role I filled, to protect the both of us.
I thought the movie was outstanding, the best Payne film I've seen yet. I said to my fiancee on the way in, "This will need to be fantastic or I'll be disappointed." In the end, I wasn't disappointed.
Some critiques: I felt the wine metaphors were a little long and slightly forced in some spots, and I think the film could have done a better job of tracing Maya's interest in Miles (I can only assume he was charming in earlier visits that happen before the movie starts, because he didn't present someone that was easy to fall for during their screen time together). Other than that, I thought this was as close to a perfect movie as I've seen recently. It's not for everyone - it's deliberate to be sure. But I found it very subtle, very real, and in spurts, very funny, as all Payne films seem to be.
From: Salfino
Date: November 10, 2004 8:35:06 PM EST
To: "scott pianowski"
Subject: Re: a post about sideways, fwiw (from an IMBD message board)
I think symbolic interpretations are mostly BS. The meaning of a piece should be clearly in the text. These types of readings always say more about the critic than the piece. Miles was longing for a mature loving relationship with someone he could relate to personally. Contrast that with his friend and that fat waitress and her husband for God's sake. To me, the literal meaning is this is a guy who's compromised himself in many ways (his job and morally in stealing the money from his mom), but he's maintained some purity with his art (a purity he's desperately trying to hold on to) and his passions for wine and for meaningful relationships. Look at his friend, who's not just lacking in morals but is a total sellout with his voiceovers and real estate ambitions.
I think that's the point that's in the text: some people sell out and other people don't. But if you don't sell out, it's a very tough ride. This makes middle age analogous with that post-adolescent period. In your teens, you make the choices on who you're going to be and those choices can end up making your life very difficult. (There's a great short-story about this called "A&P" by John Updike; and I don't like Updike's longer works much at all.)
Then do you let those rough patches in life wear down those ideals or do you weather that adversity and hold on to yourself. To me, Sideways is a sort of coming of age movie for middle-aged people. By that I mean, late 30s, early 40s.
When you think about it, About Schmidt was a coming of age movie for old people (making the most out of that final act). Election, a straight post-adolescent coming of ager.
From: "scott pianowski"
Date: November 10, 2004 10:03:20 PM EST
To: "Salfino"
Subject: Re: a post about sideways, fwiw (from an IMBD message board)
I thougt the scene with Miles and Maya (doesn't that sound stupid together? anyway) right before he calls himself out in the bathroom was a little trite. Just a little, anyway.
Switching gears, the phone call to the ex-wife was so realistic. It's being compared to the infamous Swingers call, but the Favreau dial quicky spirals into something that's not altogether realistic (though it starts off that way). But what Miles says on that phone, how he frames things, how he's hurting, how he's waxed and it's having it's way with him, that's so freaking real and well done.
Entry #110014404180184415 posted by Catherine Salfino at 10:28 PM
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