This is about a Hollywood film star, Johnny Marco (Stephen Dorff), kind of lost, marriage failed, all his wishes are met but they’re not really desires because all he’s got to do is look and he gets offered it. He doesn’t even need to ask. Girls flash their tits at him everywhere he turns and, tired though he is, he’s eager to please and be pleased, though sometimes he’s so tired he falls asleep doing it. Once in a while he returns home with his daughter to find random women in his bed and has to shoo them away, but always with a wistful regret that charms and seduces even at the moment of rejection. He’s so agreeable he can’t understand why they keep getting pissed off at him when he can’t give them more. He’s professional in his job and nice to everyone but detached.
The film begins with a beautiful sequence, a long take of a black Ferrari racing around an empty road in the desert. The Ferrari races in and out of the frame whilst the camera maintains its ground gazing emptily at the beautiful but parched scenery until the Ferrari once again drives into frame. A person we will later find out is Johnny gets out of the car. We’re allowed to see the emptiness of the landscape and the car becomes a metaphor for the film and the person: sleek, desirable, celebrated…but driving aimlessly and in a desert. The Ferrari and the Chateau Marmont, the shabby chic hotel where all the cool celebrities in LA stay, are recurring tropes in the film, evoking the luxury and comfort made available by celebrity. The Chateau is contrasted later with the chic, elegant and formal hotel in Italy. Coppola depicts luxury next to, sometimes even as, anomie — the plenitude and glitz of things but always on the verge of the void.
The film, and Johnny, sparks to life when his daughter Cleo (Ellie Fanning) arrives. I can’t think of a better representation of a father-daughter relationship ever depicted on film: sweet, complex, reciprocal, full of feeling but always constrained by external forces partly of their making and partly outside their control. Johnny and Cleo communicate simply, through looks, clearly love each other, each want to spend more time with the other. I love how at the end of the beautiful scene extracted above she tells him about the book she’s reading. clearly referring to Twilight, and how he listens; the film and he both making room for and basking in the girlyness.
She makes him eggs benedict; he loves her eggs benedict. She seems to know all his faults, questions him glancingly on them, sometimes implying ‘really?’ as she sees the next girl he’s bringing over for breakfast. But though she seems to question his actions, she accepts him for who he is and never judges him as a person. He’s clearly crazy about her. She’s what really brings joy to his life and makes it meaningful. When they part, the anomie and the desert kind of re-engulfs him without quite extinguishing him. He gets back on an expensive car and back into an emotional desert. She goes to her mother; he returns to the walking dead. It’s a beautiful and rare relationship on film and it’s a beautiful and rare film.
In a thoughtful piece on Somewhere and how it currently circulates called Searching for Somewhere ‘ (Film Quarterly, vol 64, No. 4), J. M. Tyree writes, ‘Somewhere is a remarkably divisive film that provokes genuine arguments amongst friends — plus it’s actively despised by some reviewers, denizens of the Twitterverse, and members of various online user communities…Searching through Twitter for references to Somewhere reveals a buzzing cloud of haters (not all of them clearly male)’. But I bet most are; and in any case screw ’em: they’re missing out on something rare and beautiful.