La gran apuesta

Harry Knowles once wrote a review of Das Boot that said the movie was so well made that you'd find yourself rooting for Nazi sailors trying to sink American ships. So here. You find yourself rooting for clever "outsiders and weirdos," as one of them puts it, who saw what nobody else wanted to see -- that an immense structure of mortgage based securities was doomed to collapse because it rested on the backs of subprime borrowers who couldn't support the weight and should never have been loaned the money. We have been taught by generations of fiction to identify with characters who are outsiders and rebels. Because these guys are smart, because they are antisocial and because they were laughed at by smug fools who believed the conventional wisdom, you identify with them, and you wait anxiously for their vindication. Then you realize that their vindication means the collapse of the American economy. They were the guys on the Titanic who knew what the iceberg meant and booked reserved seats in the lifeboats.

Michael Lewis, from whose book the movie was adapted, got his training at Salomon Brothers in the mid-80s, as mortgage based securities were being invented. (There's an early shout-out to Lew Ranieri, the Salomon trader who invented them.) As anyone knows who's read Lewis's memoir of those days, Liar's Poker, the culture at Salomon was that your job was to be smarter than everybody else in the bond market, understand values better, and know what other traders were going to do before they knew it themselves. If you were smart enough, you deserved whatever you took away from somebody less smart on the other side of the trade. That's why Lewis admires his protagonists and that, despite a thick coating of moral outrage, is the heart of the movie. The guys who shorted the housing market weren't any more virtuous or less greedy than the great majority of complacent, conventionally minded bankers who believed that the trees would keep growing all the way up to the sky. They just saw more clearly and had plenty of nerve and faith in their own judgment. If they had been wrong, as shorts often are, they and their clients would have been wiped out. When they turned out right, they took the money and kept it, even if some of them felt guilty about it.

I know somewhat about this area, having litigated some of the aftermath. The celebrity cameo explanations of subprime debt, collateralized debt obligations, and synthetic CDOs are not only simple but accurate -- the two involving Anthony Bourdain and Selena Gomez are downright elegant. The key concept of the credit default swap comes out nicely through the dialogue -- a chance to buy fire insurance on the house down the street just before it catches fire. There are a couple of more points that could have used the same thing, especially when people start talking about "FICO scores." It could also have been a little more clear that the eventual collapse was delayed because the smarter investment banks like Goldman finally woke up, saw it coming, unloaded their CDO inventory on investors who were still asleep, and cut their losses by buying swaps themselves. But this is a smart, entertaining telling of an outrageous true story. It deserves all the praise it has gotten, and maybe an Oscar for best adapted screenplay. If it teaches people without a financial background a little of what went on, it will be more than a momentary entertainment. But it will certainly entertain.

First for newbies, the events here took place prior to the Kevin Spacey film Margin Call (2011). So the Spacey film would have depicted events near the end of this film. Both are superb movies.

Back to the review. This film is very unusual in that the producers have shown fierce determination in taking a serious topic and making it as user friendly as one possibly can. Multiple techniques are used to this end and they all work well. In fact in places the film has a Monty Python quality. Why was this done? One can only assume that the producers understood the multiple studies showing that the modern city-dweller becomes uncomfortable when confronted with any facts which suggest that he or she was not paying attention when bad things were happening. After all we live in a democracy so the voters should have been more alert? Isn't that their job? The techniques mentioned attempt to appeal to our SESAME STREET side and make the whole thing as pleasant an educational experience as possible. But make no mistake, this is an educational movie.

One that should be mandatory for adults. Like getting a driving test before a license. How about learning about Wall Street and the banks before you invest with them...? Carell steals the film and may finally get the attention he deserves. Great actor.

Finally the message. The film suggests not only that Wall Street is corrupt but that the corruption extends to the agencies mandated to supervise Wall Street and (possibly) to Washington itself. The implicit message, conveyed in the end credits, that unless we deal with the problem at the source the symptoms will keep happening over and over and over.

Duh!

((Designated "IMDb Top Reviewer." Please check out my list "167+ Nearly-Perfect Movies (with the occasional Anime or TV miniseries) you can/should see again and again (1932 to the present))

No subject in the world is inherently interesting or uninteresting, for it's always about the communicative method or channel used to promote or inform one about the subject that is either interesting or not. Having said that, some subjects are more alienating than others, and one of those subjects is economics/finance, largely because of its dependency upon a plethora of terminology and jargon that usually cannot be adequately defined without including other terminology or jargon. Before you know it, searching the definition of something like a "Roth IRA" leads you to Google searches about embezzlement and quantitative easing in efforts to try and circumvent and define what you were originally looking for.

Thankfully, Adam McKay's The Big Short assumes the audience is fairly stupid and blissfully ignorant when it comes to the interworkings of what led to the global economic crisis of 2007-2008, which saw record unemployment and catastrophic results for the usually reliable housing market. In true movie fashion, we observe the financial crash, not from an insider standpoint, where sure-fire, grade-A trades and exchanges are being made, but by a plethora of quirky outsiders trying to run away from a boulder that keeps gaining on them until it flattens them and everyone in their tracks. The only ones saved are the ones who didn't manage to fall or stumble when pushing said boulder down the hill in the first place.

We initially meet a quirky hedge fund manager named Michael Burry (Christian Bale), who discovers that the U.S. housing market is based on a series of subprime loans (which, we are told by Margot Robbie as she soaks in a bubblebath whilst sipping champagne, may as well be synonymous with "s***") and is inevitably going to collapse sometime in the second quarter of 2007. Being that the housing market is often viewed as the safest bet in America, Michael begins to go around to different banks to bet against the stability and long-term security of the housing market in efforts to profit from the impending disaster.

Then there's Jared Vennett (Ryan Gosling), a fairly small-time investor, who winds up putting in his own money to bet against the housing market, along with Mark Baum (Steve Carell), a cynical and depressed banker of many years. The two wind up discovering that the market collapse is further aided by the solicitation of collateralized debt obligations (CDOs), basically collections of the aforementioned subprime loans that come packaged together and market as competent and reliable investments.

Finally, there's Charlie Geller (John Magaro) and Jamie Shipley (Finn Wittrock), two young-bloods anxious to break into the financial market. The inexperienced duo enlist in the help of a retired, conservative banker named Ben Rickert (Brad Pitt), who helps them make decisions with their money. Unlike the other more experienced men, both Charlie and Jamie lack the kind of gusto and namesake that allows them into the offices of big name bankers. As a result, they pine for a bigger piece of the pie in a smaller way, largely by lounging in their parents' basements, hunched over their iPads.

The Big Short functions as a competent, satirical anthology that breaks down the financial crisis - that is now nearly a decade old, if you can believe that - enough to be informative and entertaining. Considering this is from Adam McKay, a frequent collaborator with Will Ferrell and Funny or Die, responsible for films like Casa De Mi Padre, The Other Guys, and Step Brothers, this is a huge step in the right direction for him as a name in comedy and satire. Rather than focusing on a bargain-barrel Spanish telenovela satire or a tired, mean-spirited comedy based around who can yell the loudest, McKay sets his sights on peddling information through the most communicable form - entertainment. If you can succeed in meriting consistent laughs while teaching an audience something, you have profoundly succeeded at two things many have a difficult time accomplishing in a separate sense. That alone is worth considerable praise.

While the screenplay by McKay and Charles Randolph is undoubtedly a big part at why this film succeeds, The Big Short is a true testament to brilliant comedic acting on various cylinders, as well. The men of the hour, specifically, are both Bale and Carell, seriously taking on opposite personas that they pull off to a tee. Bale plays confused and downright quirky with just the right amount of edge to make him believable rather than hopelessly incompetent or downright silly, and Carell's sporadic bouts of rage and lack of self-awareness make him all the more watchable screen presence. Other performances, like Gosling's, who serves as the infrequent, anti-hero narrator, is notable for its brash charm, in addition to Pitt, who works largely because he's even more understated and harder to define than in his latest film By the Sea.

The Big Short has a lot of comedic value, but it's nonetheless a frightening depiction of where America is currently at; a depressing oligarchy, controlled and manipulated by those with money at the mercy of those without. We've seen "The Great Recession of 2007," as it's sometimes called, plunge numerous working class and poor families into further states of hopelessness, while those who helped cause and further the effects of the recession have gone on to have a road of many ups and few downs since then. McKay's eye, ear, and talent for conducting satire in a way that's simultaneously uproariously funny, in addition to having the ability to be truly upsetting, is quite marvelous and unexpected, and one can only hope that with proper recognition and compensation for his efforts on this film, he furthers down this path rather than the one he was previously on.

I appreciate that The Big Short tries to dumb down the housing crisis of 2008, but, apparently, I'm still not smart enough to fully understand it. A lot of this movie went over my head, but I grasped the generalities and it kept me entertained, so I applaud it for that. This film also featured some great performances by the cast, who lose themselves in their respective roles. This movie is a downer, but it's an educational downer.

Great drama moves you. It excites you. Scares you. Makes you sing. Makes you cry.

The Big Short makes you shake your fist. The Big Short is driven as much by its Iago as it is its Othello, and deservedly so.

The events in the story did happen. Many people still don't care. The Big Short gives you reason to care. That is what separates this film from being merely a documentary and turns it into high drama.

No matter your politics - mark this, like Citizen Kane, as a movie that should be seen at least once. It is not always comfortable to watch. And that is a good thing - The Big Short is a documentary of a real life horror that unfolds in slow motion, and reminds us that even after the fact - no one is listening. Because truth is like poetry.