Yesterday I viewed for the second time this offering by the
Safdie brothers. (Also known for their 2017 film Good Time.) In keeping with their style, the Safdie’s pacing is
frenetic, fast moving and even stress-inducing. The viewer gets literally
sucked in at the beginning and spit out at the end, having never left the edge
of their seat during the entire experience. As proof of this, I offer my wife
as an example. She usually chit chats throughout films, asks numerous
questions, makes sarcastic remarks and other such vocal activities which really
distract and annoy me. But throughout the entirety of Uncut Gems – which we first saw in the theater – she sat silent and
riveted: as good a tribute to the filmmakers as I can come up with.
Adam Sandler is a revelation in his portrayal of Howard
Ratner, a charismatic but unscrupulous New York jewelry dealer and compulsive
gambler who has staked his business, his family and even his life on a series
of ill-conceived bets culminating in his investment in a rare uncut black opal which
he hopes will set his world right, even when he is doing everything in his
power to destroy it. In his way are his angry wife Dinah, his disappointed kids
and a host of family, business and gambling associates who have in some way
been manipulated or taken advantage of by him. Seemingly the only person in the world who
believes in him is his girlfriend Julia, a smoke-show of epic proportions. She
loves Howard and assists him in his folly in any way she possibly can. When
Kevin Garnet (who did a wonderful job portraying himself) enters his shop and
falls in love with the opal, a series of events unfolds which Howard is
powerless – because of his own character flaws – to prevent.
A primary theme running throughout the film is that of
Jewishness, especially in how it intersects with African American culture.
Howard’s obsession with basketball is highlighted when he informs his cohort
Demany that a Jew (Ossie Schectman) scored the first two points in NBA history.
The black opal which is the source and instigation for much of the plot (so
similar to the scholar’s stone in Parasite)
is secreted from a mine by what Howard calls “African Jews.” Scenes depicting
the hectic work life of the diamond district are juxtaposed with others in
largely black nightclubs, where artist The Weeknd performs.
The soundtrack by electronic musician Daniel Lopatin is
innovative, unique and works to heighten the sense of anxiety which persists
throughout the film. The music is hard to describe. The best I can do is say
that it reminds me of those 70’s progressive rock songs which prominently
featured a high-pitched synthesizer instrument known as the mini-moog. The
soundtrack is also obliquely reminiscent of the iconic score from Stanley
Kubrick’s Clockwork Orange, composed by musician Wendy Carlos. In both cases,
the compositions reflect a sense of a world distorted, of morals twisted, of
reality bent and manipulated in ways which are wondrous and colorful, awful and
repugnant.
And like Kubrick’s protagonist Alex, we almost perversely root for
Howard to win in the end. Despite all his flaws – the lies, con jobs, cheating
and most of all his indifference to how his selfish actions are hurting others –
we like him. We want him to find a way out of the hole he dug for himself. We
see in Howard all the failings, ineptitude and iniquity of the man of this
world. But we also see something else: his potential. Like an unpolished stone,
there is hidden under his rocky surface a jewel of inestimable value. And that
potential is always there to be revealed, until that last day comes when it
sparkles no longer.
Beautiful!
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