“I’ve got it under control. Nothing bad’s gonna happen.”
CN: Eating disorders
To The Bone works best as character study of a young woman in recovery for an eating disorder but struggles in its efforts to provide a compelling narrative framework. This is not an enjoyable film to watch, as Lily Collins’ enthralling performance makes it clear that, despite her protestations of control, Ellen is constantly on the verge of tragedy. There is dark humour in Ellen’s cynical attitude and undoubtedly some will perceive this as flippant or exploitative treatment of a serious disorder, though really it comes from grounded realism — indeed both Collins and writer-director, Marti Noxon, bring their own experiences to the project. Undoubtedly the shots of emaciated bodies could be triggering to some, but portrayal of the graphic reality is important to this film; it is not romanticised or fetishised. Noxon works primarily in television and To The Bone is rarely shot in a way that feels particularly cinematic — that works reasonably well within the confines of the group home, but it leaves the wider world feeling cramped. In its desire to be more universally representative, we never really get a sense of where Ellen’s trauma is rooted; the surface references make her seem more self-indulgent, and the sequence as she hits rock bottom feel trite as a result, even as the film successfully avoids feel-good cliché.
“This is a business where the buyer gets nothing for his money but a memory. What he bought still belongs to the man who sold it. That’s the real magic of the movies.”
Louis B. Mayer
With the freedom afforded by Netflix, Fincher explores 1930s Hollywood by painstakingly creating a black and white film that feels as though it might have been unearthed from that era. It is something of a niche endeavour but the results are remarkable. Structurally, it is less convoluted than it first appears, using the screenwriter Herman Mankiewicz’s work on the screenplay for Citizen Kane as a vehicle for his reminiscing through a series of flashbacks about his experiences with the Hollywood figures who inspired the story. Gary Oldman’s larger than life characters have always been entertaining, but the nuanced roles he has chosen of late reveal his true depth as an actor — as Mank he is self-confident and witty but not always likeable, with alcoholism and a need to sound smart often eroding any self-restraint. Fincher’s focus is less on how Citizen Kane was written than the squalid nature of Hollywood as seen through Mank’s disillusioned eyes, with executives performing as much as actors to manipulate others, and the lies of the silver screen feeding into politics. What holds the film back is (in common with much of Fincher’s work) a lack of emotional weight to any of Mank’s relationships, all of which seem considered rather than felt, more in character for Welles than the erratic Mankiewicz.