BOBBY

Written and directed by Emilio Estevez


Can’t you imagine it? Frazzled, sitting around in a housecoat at a motel outside of Los Angeles, writer/director/actor, Emilio Estevez, puts out his cigarette and picks up the phone.

“Can I get an outside line?” Moments later, he dials the number and swallows nervously while he waits for her to pick up.

Finally, the phone is answered but it isn’t her. “Whadup,” says the man’s voice on the other end of the line.

“Uh, hi. Is, uh, is Demi around?”

“Yeah, hold up.” He drops the phone clumsily to the floor. The sound of his bellowing can be heard getting more faint as he walks further away from the dangling telephone. “Baaaaaaabe! Phone!”

Emilio is waiting. This isn’t unusual, he thinks to himself. We’ve had some good times. There’s no reason why I should be nervous. He hears the phone being handled.

“Hello?”

There’s the voice he’s been waiting to hear. “Demi, hi. It’s Emilio.”

“Rodriguez?”

“No. No, it’s Emilio Estevez.”

“Jesus! Emilio! How the hell are you?” She doesn’t wait for him to answer. “What has it been already?” Again, she doesn’t wait. “I heard you moved to some motel to become a hermit or something.”

“Well, not exactly. I am at a hotel but I’m writing.”

“Writing? Wow. That’s … Wow. God, you haven’t written a movie since ‘Men at Work’.”

“Yeah, I know. This one’s different though, better, much. I’m writing a movie about the Ambassador Hotel, on the day that Bobby Kennedy was shot.”

“Uh-huh.”

He was hoping for a little more but this would have to do. “I’m having a bit of a hard time getting the money together to make it though.”

“Oh, honey, I’m not looking for a project to invest in right now.”

“No, no. I’m not asking you for any money. There’s a part I thought you might like. And I figured if I get enough people on board, the funding might come a little easier.”

“A part? Hmmm. Well, who else is doin’ it?”

“A few people. Heather Graham, Bill Macy, Helen Hunt, Larry Fishburn, Sharon Stone.”

“Wow. Anybody else?” He could tell she was coming around.

“Uh, yeah. Tony Hopkins, Christian Slater, Dad.”

“Aw, I love your father. What’s the part?” He knew he could tell her almost anything now. It didn’t matter. He had her.



“You would play Virginia Fallon. She’s a popular singer who frequently plays the hotel. She’s a total drunk too.” He hesitates for a moment. “And she’s concerned that the public doesn’t really care so much for her anymore, y’know, because of her … age.” He waits for it but it’s oddly quiet.

“Ageing, hmmm.” Suddenly, All Emilio could hear were the teenagers hitting the ice machine down the hall. Then, she finally spoke. “I bet you I could get an Oscar out of this. An actress not afraid to play her age, or at least close to it. And a drunk! I’m as good as there!”

“Yeah! There’s this great scene between you and Sharon. She is going to play the hotel stylist. She’s doing your hair and your nails. You’re drunk. She’s tired. And the two of you just talk about how nobody wants you when you’re a woman of a certain age.”

“Yeah, that sounds great but I have the better lines, right? I would hate to see her walk away with my nod.”

“Demi, please. You know she’s got nothing on you.” He didn’t know he could be such a convincing liar. Even more so in retrospect, given that Stone is the only actor featured in BOBBY to be getting any Oscar attention.

“Aw, Emilio, thanks. I’ll have to check my schedule but I should be good. So, what’s the whole thing about?” she asks after the fact.

“Well, it’s really about the death of all the necessary social and political change that Bobby represented. The last 15 minutes are gonna have everybody ballin’ their eyes out. Bobby gives his speech at the hotel and then gets shot in the kitchen. People won’t know what hit ‘em. I mean, they’ll know it’s coming but it’s still gonna be rough.”

The level of excitement in his voice is like that of a young boy. Demi is familiar with this enthusiasm. She is also wise enough to know to scale it back. “Ok but what about the hour and half that comes before the end? What happens there?”

Emilio snaps out of his zone. “Well, stuff obviously.” He hears the defensive tone in his voice. “I mean, there are so many people in this movie and so many hotel guests. It’s got so many possibilities for different things going on.”

“Alright, that’s interesting. It’s got an Altman-esque quality to it. And I guess all the different stories somehow connect with each other or have some deeper level of significance. It will be an indirect criticism on today’s society, right?”

He had not thought about bridging the divide between the centuries for his wide variety of characters. He always thought Kennedy himself would take care of that. Having the cast involved in topical and symbolic plots complicates things. Having them involved in more random, dramatic situations was a lot easier. When he thought of tying everything together in other ways than just through Kennedy’s assassination, it made him feel that his script might be weak. He didn’t like to think about that. He also didn’t want to admit it.

“Of course. Plus I managed to sign that Lindsay Lohan everyone talks about and that guy who played Frodo. There will be so many faces in this film, people won’t know where to look. And I’m planning all this moving camera aesthetic. People will be so dizzy, a good dizzy of course. And there are the costumes! I’m thinking big hair for you.”

“God, I love big hair." You could hear her smile through the phone. "Alright, I’ll have my agent call you, on one condition.”

“Name it. I really want you in this.”

“Can you put Ashton in the picture? I need to separate him from his PS3 for a while. Y’know, give the kids a chance to play.”

“I need a stoner drug dealer part filled still. Do you think he can do that?”

“Yes, I think a stoner would be fine,” she said flatly.

“Great, than it’s settled. One last thing … Do you think you could give Bruce a call?”

“Don’t push it, Emilio.”

The call now made, Emilio sits back down to the blank page in his typewriter and stares out the window.

THE DEPARTED

Written by William Monahan
Directed by Martin Scorcese

This is it, folks. It’s the one you’ve all been waiting for. It is a true return to form, style and relevance. It has been all too easy, almost expected, to laud Martin Scorcese pictures with praise in recent years. The man has talent and has crafted some of cinema’s landmark films, from TAXI DRIVER to GOODFELLAS. The industry was naming his last picture, THE AVIATOR, the film of the year. That seemed exaggerated, an all too safe a thing to say. To name the same of his previous epic mess, GANGS OF NEW YORK, was even more absurd. There seemed to be regret for not crowning him king earlier for more deserving efforts. The later pity praise felt apologetic instead of congratulatory. The films themselves felt manufactured for mass appeal, devoid of personal involvement and often a courting of industry acceptance. This time is different. This time Scorcese feels concise and calculated, like a man with a purpose, focus. This time Scorcese has left his hopes for accolades behind him and engineered his own cinematic rebirth. This time Scorcese says goodbye to his past and embraces THE DEPARTED.

Borrowing its intricately woven story from the 2002 Japanese film, INFERNAL AFFAIRS, THE DEPARTED stars Leonardo Dicaprio and Matt Damon as moles infiltrating both sides of a war between the law and organized crime. Dicaprio plays Billy Costigan, a Boston State Policeman with a family history entrenched in crime. As he is trying to make a new name for his family, he is thrown back into the world he worked so hard to escape. Costigan will go undercover and make his way into the confidence of Boston’s biggest crime boss, Frank Costello (Jack Nicholson). Costello, meanwhile, has his own man on the inside of the Boston State Police, Colin Sullivan (Damon). Sullivan was brought under Costello’s wing when he was just a boy who was doing well in school. Both Costigan and Sullivan sought power. Costigan’s power lied in authority and changing his apparent destiny through hard work. Sullivan was seduced by a different kind of power. He still had to work hard but he had the muscle to back him up when he needed it. Dicaprio’s and Damon’s solid performances heighten the tension and make for insightful character studies. As Costigan, Dicaprio is anxious and unstable. Pretending to be a brute with nothing to live for and no reason to do bad other than it being his genetic makeup goes against everything he’s ever struggled with. His eyes flare up and his whole body flinches every time he is around intense violence; he never seems to get used to it. As Sullivan, Damon is a confident, cocky liar who gets off on how many people he’s fooling and just how well he is fooling them, from his colleagues on the force (a supporting cast consisting of Martin Sheen, Mark Wahlberg and Alec Baldwin) to his psychiatrist girlfriend, Madolyn (the relatively unknown and engaging Vera Farmiga). When it becomes apparent that both teams have been permeated, the game to catch the rat becomes tenser the closer each gets to figuring the other out. Amidst growing suspicion and fear of getting caught, THE DEPARTED becomes unpredictable and entrancing.


The surprisingly layered performance of Nicholson as Costello is one of THE DEPARTED’s best features. I expected that Nicholson could pull off a mob boss in his sleep but he brings experience and the effects of time to the role. Like one would expect, one doesn’t become a mob boss from being a nice guy. Costello is evil right through. He finds amusement in how a body slumps over to the side instead of forward when he blows a bullet through the back of her head. He has grown accustomed to getting everything he wants, to having no one stand in his way. To some extent though, he has grown bored and complacent with this lifestyle. He knows of nothing else but knows that alternatives exist. He seems to live his life appreciative of his position but with regret, or at least an awareness, that he did not make other decisions. When he speaks of Costigan’s father as a guy who could have been a big boss if he wanted to but didn’t, the acknowledgment alone highlights the power of choice. When he tells Costigan that he should go back to school, it highlights his own choices.

Something Costello is fond of saying is that “No one gives it to you; you have to take it.” It is a mantra for Costello and it seems like one for Scorcese as well regarding his approach to this film. Scorcese’s command of THE DEPARTED can be felt in the composition of each shot, in the energy of the omnipresent soundtrack and the grasp of the subject matter. Like Costello, Scorcese has been coasting in recent years; the results have been passable, at times solid, but always tired. THE DEPARTED announces Scorcese’s return to making affirmative choices again, and the right one’s at that.