Brandon Wilhelm is a senior telecommunications major and writes "Black and White Corner" for the Daily News.
His views do not necessarily reflect those of the newspaper. Write to Brandon at
brwilhelm@bsu.edu.
“The Suspects Wore Louboutins” was the name of an article upon which director and screen writer Sofia Coppola’s indictment of Generation Y is based. I suppose that is indeed an apt summation of what to expect from “The Bling Ring.” Pretty to look at, but hollow on the inside.
Emma Watson shakes herself of all Harry Potter-based notions any viewer may have from the very beginning with an opening statement of explanation to a sea of paparazzi.
The twang of her California girl accent is not at all cartoonish, but actually disturbingly accurate, and the words that come fumbling out of that mouth are just as numbing. Then, of course, the movie goes straight into a flashy montage of opening credits set to Sleigh Bells’ thunderous, but catchy “Crown on the Ground.”
This quick barrage lays the cards out without wasting the viewer’s time. The flashy cars, clothes and jewelry are only a facade for something much darker. Yes, the actual events that lead these young adults to rob celebrities seems very tame in comparison to crimes like murder or rape that one often sees in crime flicks, but it is less about the acts themselves, so much as it is about the attitudes, behaviors and lifestyles of the kids committing these crimes.
Those hoping to find likable, plucky heroines and heroes should steer clear, as this is more of an act of turning the mirror viciously upon those obsessed with the “high life.”
What is most interesting about “Bling” is that Watson was marketed far more as the clear star of the show, but she is actually relegated more to a supporting role. Actually, that is unfair. The whole gang has something to bring to the table.
The only one who could really be considered the “star” would be Israel Broussard, here as the only male member of the group, Marc Hall. Broussard is a revelation, as he projects all at once confidence, paranoia, insecurity, desire and above all else, a little humanity apart from his female counterparts.
Midway through the film, cinematographers Christopher Blauvelt and Harris Savides (who turn in lush, but sterile imagery here) linger upon the boy lying in bed while wearing a pair of hot pink high heels. The immediate response from any would be laughter, but I found something heartbreaking, almost devastating in that one lingering shot. Something ... real.
I realize how cliche that may sound, but this is a film built upon the notions of artifice and the effect it has upon the youth of America. Even when the police come knocking to arrest and imprison the kids, Hall is lying in bed with his pink heels was the only real sobering moment.
Of course, the ladies leave an impression, too. Watson taps into something quite profound as Nicki as she spouts off lines like “I wanna rob,” or “You’re stressing me out,” with an almost slimy vapidness.
Then there is Katie Chang as Rebecca Ahn, who is indeed the girl who gets the ball rolling with these robberies. I think I can say without a doubt that Chang has created an incredibly memorable portrayal of villainy here. Ahn has no real emotion.
Even when she tells Marc to stop being “a little bitch,” there is a level of coldness I didn’t even think was possible with such a character. When the gang’s world comes crashing down, we love watching her fall. Also of note is Leslie Mann, who gets the most laughs (of course) as Watson’s self-help-obsessed mother.
This is not an easy film to watch. Coppola and her incredible crew are not interested in conventional cinematic tropes and those hoping for a little entertainment will be sorely disappointed. That said, those wanting a searing portrait of fame culture and the obsession that comes with it should be in for a real treat.
Rating: 4.5 out of 5
