TWILIT ALTO:

implicitly Forceful and garish meditations

in the twilit and allegorical film art

 of Gia Coppola

 

by Gary W. Wright

 

        Following in the legendary, storied and indomitable film art footsteps of her grandparents Eleanor and Francis Coppola and her aunt Sofia Carmina (SCC) Coppola, Gian-Carla “Gia” Coppola aka GC took up the film art life.  Curiously, GC also continued the Coppola tradition of liking to implicitly roast Canadian film art and film artists and family friend and film artist George Lucas in her film art when she donned the writer/director hats and teamed up with Francis-who did some voiceover (VO) work as a judge-her great-aunt Talia Shire-who played sympathetic high school guidance counsellor Mrs. Ganem-and her nephew Bailey Coppola-who played Seth-to create her first twilit, allegorical and slightly computer generated imagery (CGI) enhanced indie docufeature film PALO ALTO (2013), released on August 29, 2013 and inspired by the twilit and allegorical James Franco short story collection Palo Alto (2010), which also continued the Coppola tradition of literary art inspiring film art.

 

“Oh?  See we got a wise one here, huh?”

 

        Indeed, GC implicitly affirmed an interest in blasting Canadians linked to film art right from the start, with the camera slowly and relentless zooming across a deserted parking lot in the Los Angeles suburb of Palo Alto like a slow motion bullet towards a lone Oldsmoblie whose red and white colours evoked the red, white and true Maple Leaf flag of Canada.  Inside we found two teens, Teddy and Fred-played by Jack Kilmer and Nat Wolff, respectively-who resembled and were implicitly linked to eccentric Zone War “scholar” Gary W. “Gardevil” Wright and film artist Jason Reitman whose relations had been restrained as a result of infamous Toronto International Film Festival (TIFF) lists and the brash, confident, knowing, twilit, allegorical, slightly CGI enhanced and implicitly Gardevil roasting Reitman indie docufeature film YOUNG ADULT (2011), implying that GC was also contributing to the tragicomic sub-genre of the dread allegorical Zone Wars known despairingly as “Cinema Garite” with PALO ALTO. 

Indeed, the fact that the two teens were arguing over kings when first met affirmed their link to Reitman, Wright and TIFF, reminding us that the new permanent HQ of TIFF was located at King and John Streets on land donated by the Reitman family in Toronto.  The sight and sound of Fred soon unexpectedly putting the Olds into drive and smashing the car into a nearby wall reaffirmed that implicit interest in Reitman, as the crash evoked the sight and sound of the implicitly Wright linked Mavis Gary-played by Charlize Theron-crashing her red and white Canucklehead Mini into a signpost as she turned into a hotel parking lot at one point in YOUNG ADULT.  The fact that after the crash and after the lone title PALO ALTO in pale turquoise letters on a black background flashed on the screen Fred turned out to have a friend named Jason King-played by A.I. Smithee-who had the same Christian name of Reitman and a surname that again reminded us that TIFF’s new permanent HQ was located at John and King Streets in Toronto reaffirmed the film’s implicit interest in Reitman.  Fred’s luv of smoking also evoked Reitman’s first brash, confident, knowing, twilit, allegorical, slightly CGI enhanced and implicitly David Lynch toasting indie docufeature film THANK YOU FOR SMOKING (2005), implicitly reaffirming that GC was addressing Reitman on one level in PALO ALTO. 

As for Teddy, the fact that he went on to atone for leaving a car accident by doing community work in a children’s library also affirmed his implicit link to Wright, for this library work evoked Wright’s work as a Library Technician in a high school library.  Thus, the sight of Teddy leaving behind his community hour work in the children’s library and the self destructive Fred, last seen wearing a red jacket and white t-shirt as he drove that red and white Oldsmobile into the opposite lane and played chicken with oncoming cars, for more fulfilling artistic pursuits in a retirement home wearing a red and white Canucklehead volunteer smock and a possible hookup with April, in the end, implied that GC thought that Reitman would destroy himself trying to be a king of cinema and that she hoped that Wright would also leave behind his TIFF with Reitman, grow up, get a life and some luv and devote himself to creating real art instead of “enlightening essays” on twilit and allegorical film art.  At any rate, the fact that Ted’s mother and sister, Sherry and Emma Morrison, were played by Janet Jones and Emma Gretzky, respectively, affirmed the implicit link of Freddy and Ted to Canadian and Ontario film art, film artists and film “scholars”, as Jones and Gretzky were linked to Canada and Ontario due to being the wife and daughter, respectively, of Brantford, Ontario born and raised hockey hero, Wayne Gretzky.

 

Last but not least, Fred and Teddy’s curiously callous use of the slutty and implicitly Sarah Polley linked Emily-played by Zoe Levin-for casual sexual release implied that GC was not particularly fond of Polley, an implicit interest in Polley affirmed by the film’s allusions to the daylit and allegorical Polley indie docufeature films AWAY FROM HER (2006) and TAKE THIS WALTZ (2011), the latter of which implicitly addressed SCC.

       

“I really like you.”

 

        Curiously, the tragicomic story of Emily, Fred and Teddy was interwound throughout the film with the equally tragicomic story of a divorced, lonely and thirty something Palo Alto high school teacher and girl’s soccer coach known as Mr. B-fittingly played by Franco-who was implicitly linked to the then equally divorced and lonesome Lucas.  As Mr. B. failed in his attempt to kindle a relationship with April-played by Emily Roberts-one of his soccer players who was also his shy, sweet and Natalie Portman evoking teen babysitter, GC implied that she felt that Lucas had also failed in his attempt to use Portman’s perky Padme Amidala to achieve success again with the STAR WARS Tragic Trilogy, an assessment shared by most audiences and by SCC, who implicitly roasted Lucas in her own equally satirical Lucas Trilogy which was comprised of the twilit, allegorical and slightly CGI enhanced indie docufeature films LOST IN TRANSLATION (2003), MARIE ANTOINETTE (2006) and SOMEWHERE (2009).  Indeed, the film’s allusions to the allegorical and implicitly Ralph Bakshi roasting Lucas indie docufeature film AMERICAN GRAFFITI (1973) affirmed the film’s implicit interest in Lucas.

        And so PALO ALTO was a fine first feature film that evoked MARIE ANTOINETTE and SCC’s first film, the twilit, allegorical and CGI free indie docufeature film THE VIRGIN SUICIDES (1999), and continued the Coppola tradition of original, creative and artistic excellence.  And so GC recently teamed up with Wolff again on the twilit, allegorical and CGI enhanced indie docufeature film MAINSTREAM (2020), a film released on September 5, 2020 that explored it perhaps did another side to the always…twilit Alto.

 

Bibliography

 

Franco, James.  Twilit Alto.  New York: Scribner, 2010.