The Color of Money (and What It Costs)

Baker shoots Brighton Beach in these nauseating yellows and greens, like the whole neighborhood is lit by convenience store fluorescents. Perfect choice. The color scheme changes to Vegas gold when Vanya and Ani get married in a quick ceremony before returning to the sickly green tone that reality brings with Russian security personnel.

The fur coat Vanya purchases for Ani keeps coming back to my mind. White mink, completely impractical, the kind of thing that screams new money trying to buy class. The costume designer shows complete understanding of his work through Ani's repeated touch of the costume as if she cannot accept its authenticity. Actually, scratch that. The coat gains value because Madison decides to sell it instead of because of its outstanding costume design. She uses this garment as protective armor until she loses control of it.

Look, here's what catches me off-guard about this film. The Armenian handler Toros arrives with his thugs which makes me expect physical confrontation. Every film with Russian oligarchs and sex workers goes there. But Baker refuses. These guys are more irritated babysitters than thugs. Garnick and Igor spend half the film looking exhausted while Ani throws lamps at them. The violence never comes. Well, not the kind you expect.

The real gut punch? When Ani asks Igor "Why didn't you try to rape me?"Jesus. Madison delivers it almost offended, like his passiveness is the insult. That question hangs there, tells you everything about what she expects from men, from this world. Everything about how she's calibrated for danger that never arrives. (Though honestly, the scene lands weird because Igor's been nothing but decent for forty minutes of screen time.)

Vanya disappears halfway through. Just bolts. The film keeps going without him, which is maybe the point? Madison carries these scenes on pure rage and disappointment, the camera catching her in these medium shots that feel too close but not close enough. She continues to perform her actions regardless of whether anyone observes her. The strip club scenes that bookend everything are shot wider, more observational. Baker understands when to stop his actions.

I want to discuss the final part of the story. The story ends without any clear answers or happy conclusions. Igor drives her home in silence and something breaks. Or doesn't. The situation remains unclear because it seems both unacceptable and completely normal. This isn't Pretty Woman (everyone keeps making that comparison and missing the point). This is loneliness dressed up in neon and designer clothes.

The supporting cast commits. Borisov as Igor especially, gives you this whole interior life through shoulder shrugs and tired expressions. The casting of such an interesting actor becomes puzzling because he receives minimal screen time until the third act.
I wanted more from the color work in the parents' arrival scene. All that buildup, then they shoot it flat and conventional. Missed opportunity.