Rehabbing Tonto

The Lone Ranger as Picaresque Tale

by Tony Dayoub

As The Lone Ranger shifts from the point of view of its hero, John Reid (Armie Hammer), to the first-person narrative of his Indian sidekick Tonto (Johnny Depp), the tired pulp story becomes a postmodern picaresque. A type of story with a long literary tradition but seldom seen on film, a picaresque is usually episodic in nature, a fact that contributes to what many perceive is the messiness of The Lone Ranger. Tonto exemplifies the typical picaresque hero (or picaro), noble in intentions but misguided and perhaps even unreliable in his perception of the events in which he is usually at the center. Like Arthur Penn's Little Big Man, this film begins with a rather decrepit Indian as a dubious storyteller, spinning a yarn full of non-sequiturs and magical realism that both uncomfortably overlap with heinous atrocities in order to subvert the typical white victor's perspective of the American western. The first appearance of Depp, made up to look a hundred-odd years old, is itself a metatextual reference to Little Big Man’s protagonist, Jack Crabb (Dustin Hoffman). Crabb is a white man raised by the Cheyenne who encounters famous figures like Wild Bill Hickok and George Armstrong Custer (who, in The Lone Ranger, finds his own visual parallel in a cavalry officer played by Barry Pepper), just before their grand, untimely ends...

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Movie Review: Iron Man 3 (2013)

by Tony Dayoub

"You know who I am." It's a statement made several different times in Iron Man 3 by both Tony Stark (Robert Downey, Jr.) and his nemesis the Mandarin (Ben Kingsley) that turns out to be more of a question than a declaration: "Do you know who I am?" We find out who the Mandarin is fairly early. Whether you'll be satisfied with the answer largely depends on if you're a comic book fan who holds filmmakers accountable for screwing around with your precious text. The answer to who Stark is takes a good deal longer to arrive at a resolution, relentlessly driving Iron Man 3 to its conclusion rather skillfully thanks to director Shane Black (Kiss Kiss Bang Bang) who consistently subverts the expectations one brings to the otherwise increasingly predictable and generic superhero movie.

Movie Review: The Grey

by Tony Dayoub

In the American movie landscape, the early part of the year usually means a few things. It's when the rest of the country gets to start catching up on Oscar hopefuls that opened at the end of the previous year in New York and L.A. It's also the season when unworthy films get dumped on an unsuspecting public (Man on a Ledge, anyone?). And finally, it's the designated release window for the semi-annual middle-age-action film by the lumbering Liam Neeson (Taken, Unknown). But this upcoming weekend's entry, Joe Carnahan's survival nightmare The Grey (based on a short story by Ian Mackenzie Jeffers), resembles Neeson's previous simplistic thrillers only from a marketing standpoint. Though the story of a man fighting against nature in a snowy wilderness is unabashedly straightforward, Neeson and Carnahan (who previously collaborated on the dumb A-Team remake) plumb the depths of The Grey's central character, Ottway, and come up with some fascinating stuff.

NYFF11 Movie Review: Shame

by Tony Dayoub

Shame is not simply the sex addiction drama it is being marketed as. More precisely it is a character study focusing on Brandon (Michael Fassbender), a lonely disconnected New Yorker moderately succeeding at imposing a controlled routine over his life despite an unusual neurosis. If Freud and Fassbender's other NYFF character, Jung, were to psychoanalyze Brandon and his equally detached sister, Sissy (Carey Mulligan), they'd find that, though each acts out in different ways, both are obviously reacting to a childhood in which they were exposed to sexual dysfunction. But director Steve McQueen (Hunger) wisely avoids diving into the murky waters of cinematic pathology, preferring instead for his audience to connect the various clues to Brandon and Sissy's background themselves. McQueen is more concerned with how that pathology plays out in the lives of his characters, relying heavily on Fassbender's talent for conveying the defeated torment of the introverted Brandon through what is largely a performance based on subtle gestures and inflection that the director catches by simply allowing his camera to get uncomfortably close and stay there as long as needed.