Crystal Melvin

• &ref(https://m.media-amazon.com/images/M/MV5BODQ0M2Y5M2QtZGIwMC00MzJjLThlMzYtNmE3ZTMzZTYzOGEwXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_SY1000_CR0,0,629,1000_AL_.jpg)
• Anne Hathaway
• genres Biography
• 8,1 of 10
• directed by Todd Haynes
• 3626 votes

Free download the lawyer who became dupont's worst nightmare video. I'll watch the Progressive Hulk in anything. Robert Bilott(Mark Ruffalo) a corporate lawyer-turned-informant against his firm's client DuPont, is in the intensive care unit, recovering from a transient ischematic attack. Robert was nowhere near a dry cleaners. He had a seizure at work, in his boss' office after learning from Tom Terp(Tim Robbins) the Taft, Stennius & Hollister CEO, that he'll be expected to take another pay cut, his fourth pay cut. Robert's three boys attend a private Catholic school. The wife will be furious. This chemical company has made Robert allergic to family life. "Dark Waters" directed by Todd Haynes, is an unofficial sequel to his second film, Safe" which partly put the onus on the victim, not the culprit, because the filmmaker didn't know who the culprit was. Twenty-five years later, we know, and "Dark Waters" names names. The science is in. Modern life can kill you. Although the doctor(Terri Clark) explains to Sarah Bilott(Anne Hathaway) herself, a corporate lawyer, who met Robert at his law firm, that Robert's problem was neurological, brain-related. The wife, however, has reservations about the preliminary analysis, having witnessed, first-hand, so much corporate malfeasance, the former workman's comp assassin-turned homemaker can't help but ask if there is any possibility that her husband might have been poisoned. Wilbur Tennant(Bill Camp) a farmer, taught the couple to never take anything at face value, since every action and inaction, at the end of the day, is profit-motivated. Only a man with a twelfth-grade education would know this. A rich man with a law degree from an Ivy League school doesn't know or cares that the system is rigged, because the system never let them down. But Robert Bilott didn't attend Harvard, or Yale, or even Dartmouth. In Goliath's eyes, Robert is David, too, no different from the farmer with the dead cows. "Dark Waters" is about a changed man's crusade against a Goliath in the chemical industry, who knowingly contaminated a backwater West Virginia town's drinking water supply with chlorofluorocarbons. Outside her husband's hospital room, Sarah chastises Tom for making Robert feel like a failure. "You and I may not know what that is, she scolds the law firm's main partner, which means that Sarah doesn't care about the little man, but she cares about what her husband cares about. The "is" the audience knows, is roots. Robert Bilott went to Ohio State, a "no-name" school, according to James(William Jackson Harper) a Taft associate. Wilbur knows Robert's grandmother. That's because the hotshot lawyer grew up in rural West Virginia. It's all in the head, people keep trying to persuade Carol White(Julianne Moore) a privileged San Fernando Valley trophy wife, especially her general practitioner, Dr. Hibbard(Steven Gilborn) who refers his patient to a colleague; a "shrink" because whatever is ailing this otherwise "healthy" woman, it's not showing up on her x-rays. "Safe" Todd Haynes' second feature, was a horror film disguised as a social satire about the consumer culture that defined the late-eighties. Set in 1987, Haynes, a filmmaker trained in semiology, updates Brian Forbes' The Stepford Wives" adapted from the Ira Levin novel, by tweaking the role of the homemaker. In the 1972 original, the women were domestic automatons, obsessing over housecleaning products and pleasing their breadwinning husbands in bed. These southern California wives have maids. They never have to lift a finger. Furniture, the audience suspects, gets them off, because they're shopping addicts and money is the drug. These Hispanic domestics clean the beautiful stuff their employers have bought and curated, which transforms their luxurious homes into temples of 20th century excess. Carol was one of them. At home, and this is because of Haynes' mastery of the mis-en-scene, the audience sees how this privileged woman must always be the focal point; her maid, Fulvia(Martha Velez) a mere planet constantly revolving around the sun, her mistress, always threatening the maid's elliptical orbit, because of their tilted symbiotic relationship. "Fulvia! Fulvia! Carol calls offscreen, even though Fulvia is preoccupied, showing the new girl how to polish silverware. Carol can't find the telephone book. Finding it herself, in this milieu, counts as hard work, and the delegation of work, that's what the missus does. Carol overexerts herself; she sits down and asks Fulvia for a glass of milk. Through the kitchen opening, we see two men at work, painting a wall. Although visual cues are aplenty, in which exposure to chemicals and air pollutants(like car exhaust) provide evidence for this woman's degraded condition, the cause and effect is compromised by the audience's disdain for this somewhat problematic protagonist. On Carol's haler days, Fulvia would fetch the missus her milk, regardless, because power over the help is the only power she holds. It's hard to root for the idle rich. The filmmaker knows this. Carol has to prove that she's one of us before the audience can get behind her. That moment arrives during the baby shower sequence. Carol goes on the fritz, similar to the woman during the pool party scene in "The Stepford Wives" who walks aimlessly among the partygoers, repeating: I'll just die if I don't get this recipe." Haynes riffs on the concept of woman as malfunctioning human android into woman as alien. Carol, suddenly, feels like a stranger among the members of her very exclusive clique; an oncoming dread that blossoms into terror when she no longer can speak the shared language of her tribe. Carol knows the words, but not the music; she's still fluent, asking Linda(Susan Norman) her best friend: Did you wrap that? and, as if they're reading from a script, the self-aware knows the right way to respond: I've seen you wrap things." These women aren't talking; it's a pitch-perfect speech performance. Improvisation in "Safe" is double-edged, because it's not just the actors who stick to the script, so do the characters they play. This rote memory of correct things to say wipes Carol out. The audience thinks it's the carpet. She asks Barbara(Ronnie Farer) for the whereabouts of her bathroom. Wrong word. "Powder room, Barbara corrects her guest. Once inside, she stares at herself in the mirror, a foreshadowing of the film's final scene. The perm, the makeup, the pretty dress; these things, Carol thinks, is not her. A glass of tap water sits on the countertop. Carol returns to the fold, managing to play her role in the good life for a little while longer. Barbara's daughter sits on the alien's lap, watching the future mother open another gift. Carol's breathing becomes labored. The child is frightened. Carol breaks script; she improvises. The alien can't breathe, like the living room suddenly turned into Mars. The host calls 911. An audience in 1995 could debate about the trigger. There are several suspects; the little girl's permed hair, carpet, sofa. air conditioner. 2019 audiences will see something different; tap water from the bathroom faucet. Chorale music is used as a sound bridge when "Dark Waters" transitions from the intensive care ward to a Catholic church. Did TIA kill the lawyer? In the pew, Carol and her three boys sing a hymn, followed by a series of expository shots, which surveys the cathedral's geography and congregation density, before ending with Robert, who sits slightly apart from his family near the aisle, in frame. So the father was there all along, hiding in the negative space, during that first shot of the incomplete Bilott family, when for an instant, the audience thinks they're witnessing a funeral. It's a variation on a theme, linking the corporate lawyer with Carol White; a thematic match, depicted through mis-en-scene, which shows how Robert is simultaneously close and far away from his family. In "Safe" the homemaker talks to Greg, her husband, and Rory, her stepson, from a different room, the kitchen, where she had volunteered to serve coffee for two. Instead of returning to the dining table, Carol lingers in a blind spot, from the family's perspective, as if she lost her way back. Robert, like Carol White, feels disconnected from his milieu. The corporate lawyer, too, meets new people and doesn't know who he is anymore. Robert ingratiates himself within a lower socioeconomic class, the denizens of Parkersburg, West Virginia, his clients, whereas the San Fernando Valley girl loses touch with her fancy, high-maintenance jetsetter friends to live with other chemically-sensitive people on a secluded commune in the New Mexico desert. Fifteen years later, since Wilbur Tennant interrupted Robert during a meeting at his law firm with a rambling monologue in an inpenetrable Appalachian dialect and a box of VHS tapes, the corporate lawyer has changed, and Sarah, despite loving her husband, calls him out. His physical body may be present, but the mind housed in that body, it's somewhere else, probably rural West Virginia. Sarah has to update this empty shell, doing a poor impersonation of the man she married, on the family and extended family's trials and tribulations. Carol White asks: Where am I? Right now? Robert is worse, because these are questions that never dawns on him to ask, and Sarah knows it. Dupont reneged on their promise to take care of the people they knowingly poisoned. The chemical giant tore up the contract, because they could afford to. The corporate giant expected Robert Bilott to back down. They didn't count on the lawyer having the wherewithal and perseverance to chip away at the thirty-five-hundred unsettled cases, one plaintiff at a time. The courtroom becomes his safe house. As a nod to the allegorical science fiction elements of "Safe" the judge announces: At this rate, we're going to be here 'til 2890 if we're lucky, so we better get started." Robert Bilott, a real-life Superman, is allergic to panies.

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