Sunday, October 19, 2014
Some would say Whiplash is about a music conservatory student drummer who - with the help of a sadistic teacher - achieves success. But really the film is about a student who has to endure the abuse and manipulative tactics from the teacher on the way to achieving success.
The teacher - played brilliantly by J.K. Simmons - tells a story to the kid about how Jo Jones threw a cymbal at Charlie Parker's head and it made Parker practice harder until he achieved his legendary success. The story is apocryphal but it sets the stage for the lesson the teacher wants the student [Miles Teller] to understand, which is that abuse and intimidation will bring out the best in someone with talent.
I don't think the filmmaker - Damien Chazelle, believes this method works. But he teases it out enough to make us at least believe the student thinks it has some merit. However, by the end, he finds that the only real way to achieve success with this teacher is to fight back - and hard.
It's a terrific film; entertaining, intense and rather unpredictable. Especially the final scene when the student gets humiliated and then turns the tables - all on stage for the world to see. He finally finds a way to achieve the success he would have achieved earlier with a better teacher. But sometimes you have to overcome hurdles to win.
Sunday, June 22, 2014
It's all the more remarkable because the director Benedikt Erlingsson is a first time filmmaker who manages to capture the story visually better than many seasoned directors. Through editing juxtapositions, close-ups as well as the majestic use of horses in many different scenarios, he keeps the tale going strong for its 86 minute running time.
The film takes place in and around a quirky small Icelandic community where everyone knows one another and no one holds a secret from anyone. The film unfolds much like a series of short stories; each one loosely connected to the others and all in one way another involving horses and the various characters of the region.
Both the horses and the men [and women] live off the loamy, windy, fjords that surround them. And the only thing that separates man from beast is that the men attempt to be a bit more formal in their proceedings - although barely. The film's first scene is indicative of this. A man rides his horse to call on a lady friend. He is dressed in formal attire. She greets him with - who we assume - is her mother and her young son. They have tea and commence with small talk and laughter. Meanwhile his horse has drawn the attention of a stallion who begins to go wild. As the gentleman leaves the wild stallion managers to break through the fence holding him and he rushes to the mare to mate with her. What ensues is a major embarrassment for the gentleman and a good hearty laugh for everyone else.
One thing Erlingsson does really well is present each story in such a unique way that you don't exactly know what's happening. Many times I found myself guessing what was going on only to realize he was actually going a different route with the story. Each story has its own delight or shock or revelation and all of them have moments of exhilaration, which are helped along by the amazing cinematography of Bergsteinn Bjoergulfsson and a terrific score by David Thor Jonsson.
Movies like 'Of Horses and Men' is one of the reasons I go to movies. I hope it gets a distributor.
Sunday, May 25, 2014
Make no mistake, this is a Alejandro Jodorowsky film through and through. It is not a compromised, mainstream film put together by studio producers or marketing hacks. It's not safe and easy yet it's not too outrageous to scare away the timid. For every bit of harsh or clunky mise-en-scene it segues into confident narrative structure and the assurance of faith or a mother's love.
This is entertainment that astonishes and pushes us; from scenes like the mother urinating [for real] on her ailing husband, to dancing naked with her son both blackened with shoe polish, to the craziness of not one but a dozen crippled one [or no] armed men drinking themselves into despairing drunkenness. It's a world that not only embraces atheism and faith, but cornball sincerity [the mother sings every line as if in an opera] with outrageous sadistic madness [the father hurts the child early on to gain his respect].
It's a film about the cruelty of dictatorships and economic difficulties but a one of hope too. Ultimately, it's a film about the rebirth of both a man and his country.
It's tough to recount the plot. And since I saw it with no knowledge of the plot I'll leave it there.
See it. It's a great, unforgettable film.
Friday, May 23, 2014
#Cannes2014 Olivier Assayas Sils Maria an ambitious, intriguing study in life and art, acting & ageing. V fine performances, esp. J Binoche— Geoff Andrew (@Geoff_Andrew) May 23, 2014
Government and God: Leviathan is a BIG film and a strong contender for the Palme d'Or. Magnifique #Cannes2014— Total Film (@totalfilm) May 23, 2014
The Tribe was bold, extraordinary, upsetting and a teeny bit dull. Definitely deserves to be seen. #Cannes2014— Tom Linay (@TomLinay) May 23, 2014
Thursday, May 22, 2014
Well, here's a surprise: I was totally charmed by Ken Loach's JIMMY'S HALL. Old dog, old tricks, executed with sweetness and grace.— Guy Lodge (@GuyLodge) May 22, 2014
The Egoyan getting poor reviews again. SMH, when is this guy gonna get it together again? Disappointed.— ThePlaylist (@ThePlaylist) May 16, 2014
THE HOMESMAN (A-): A whisper of a town, a good woman on the verge, a man without a plan. Boetticher given a feminist humanity. #Cannes2014— Glenn Heath Jr. (@MatchCuts) May 18, 2014
The Salt of the Earth - Wim Wenders doc on Salgado. Unforgettable photographs, patient storytelling. Stirred up something deep, good stuff.— Alex Billington (@firstshowing) May 22, 2014
My favorite thing to ask great European actors is how soon until they're playing a Bond villain. #Cannes2014— Your Canadian GF (@YourCanadianGF) May 22, 2014
The bad reviews make me want to see LOST RIVER more than the good reviews make me want to see FOXCATCHER. #Cannes2014— Sam Adams (@SamuelAAdams) May 20, 2014
Jean-Luc Dogard.— Alison Willmore (@alisonwillmore) May 21, 2014
LEVIATHAN (Zvagintsev) A character explains the Book of Job as another drinks vodka from the bottle. You get the picture... #Cannes2014— David Jenkins (@daveyjenkins) May 22, 2014
Wednesday, May 21, 2014
That the Dardennes basically made one of the great 1930s Hollywood melodramas in 2014 makes me immensely happy. #Cannes2014
— Glenn Heath Jr. (@MatchCuts) May 20, 2014
Dolan's MOMMY is a masterful, operatic look at motherhood and madness. Tonally ambitious, musically equisite. Stellar. #cannes2014
— Jason Gorber (@filmfest_ca) May 21, 2014
In Godard's GOODBYE TO LANGUAGE, a man discusses the meaning of Rodin's The Thinker while taking a dump. En 3D! #cannes #cinema
— erickohn (@erickohn) May 21, 2014
Hazanavicius' THE SEARCH is a stilted, obvious, preachy and egregiously overlong Chechen war drama. Not a patch on the Zinnemann original.
— Scott Foundas (@foundasonfilm) May 21, 2014
David Cronenberg's Maps to the Stars, the world's first melodrama/Hollywood satire/supernatural horror/psychokiller movie #cannes2014
— Steven Zeitchik (@ZeitchikLAT) May 18, 2014
#Cannes2014 More I think about Nuri Bilge Ceylan’s Winter Sleep, more I think it’s a major achievement. Pushing himself, us & cinema itself
— Geoff Andrew (@Geoff_Andrew) May 17, 2014
Tuesday, April 01, 2014
Julien Duvivier is best known in the United States for 'Pépé le moko'. But he had quite a distinguished career that lasted from 1919 to 1967 and included over 70 films. Jean Renoir is noted to have said: "If I were an architect and I had to build a monument to the cinema, I would place a statue of [Julien] Duvivier above the entrance….This great technician, this rigorist, was a poet."
I've seen few Duvivier films but each film I have seen is impressive in one way or another. Even if he was just knocking off a genre picture. One such film is Chair de poule [translates as Goosebumps but was also known as 'Highway Pickup']
It's a French film noir and the plot is rather typical. A criminal named Daniel [Robert Hossein] after being caught robbing a safe escapes from a train on the way to prison, finds himself in a remote location where he is befriended by a man, Thomas [Georges Wilson], and his wife, Maria [Catherine Rouvel] who run a roadside restaurant and gas station. It's evident rather quickly that the young wife is not interested in her older husband. The only reason she hangs around is because he has a fortune of money stashed away in a safe. Daniel, it turns out, is a safe cracker. Once Maria finds out this convenient fact she decides to double-cross her husband with this handsome criminal. However, Daniel wants nothing to do with her.
Enter Paul [Jean Sorel] Daniel's partner in crime who in the we saw in the movies first scene manage to escape and avoid Daniel's prison fate.
The plot thickens.
I don't want to recount the plot or give anything away but suffice it to say the film fits into that niche we might call cynical noir. It builds to a very satisfying conclusion. The story is not Duvivier's. It is based on a novel by James Hadley Chase titled Come Easy Go Easy. But it is well directed and it's terrifically entertaining.
The reason the film is not well know is most likely because it has no big movie stars we can associate with. The biggest being Jean Sorel who was in 'Belle de Jour' and 'The Day of the Jackal'. But it's got big talent behind the lens. The cinematography is by Léonce-Henri Burel who shot Abel Gance's Napolean as many Robert Bresson films. The score is done by Georges Delerue. It would be nice to see this film get the Criterion treatment at some point. Or just any old release will do. Look for it.
Wednesday, March 05, 2014
She’s a French actress
Love making and crying
Breakfast on a rooftop
Flashback in a cellar
Contemplation of life and death
Last Year at Marienbad
Everyone’s at a party in a castle.
People walk around in a quiet black & white world.
Some guy is doing card tricks.
Did any of it ever happen?
Even their shadows don't show up sometimes.
The Algerian war is in the past
Or is it the present?
A young man.
The memory of war = depressed characters
He attempts to drive across the border.
At one point a woman walking down the stairs suddenly becomes many women.
Spun through fragments of time.
Mouse on the beach.
Scenes repeat until he goes mad and the machine breaks.
Ellyn Bursten talks in a man’s voice sometimes.
Belamondo in 20’s style
Wears nice suits
Drives a nice car
People talk a lot
A beating heart
A woman dentist
An older man
A shared love of aviation
A promise of romance.
Tuesday, January 14, 2014
An Enemy of the People [Satyajit Ray, 1989] - An adaptation of a Henrik Ibsen play about a doctor who believes the holy water at the nearby temple is contaminated. He faces a lot of opposition including from his brother who is determined not to let the news out.
The Earthling [Peter Collinson, 1980] - The dying journey of a dreamer who meets a young boy lost in the wilderness after the death of his parents. A movie that is both tough and touching but without being sappy. [I wrote it about it here].
Hard Times [Walter Hill, 1975] - Charles Bronson plays Cheney a drifter who travels around the south during The Great Depression earning money by prize fighting and beating just about everyone in sight. A streamlined tale directed by Walter Hill [his first] with no frills just solid action.
Heidiko The Bus Conductor [Mikio Naruse, 1941] - My discovery of Naruse continued last year and this fun short film about a young woman who comes up with the idea of a starting a bus travel guide business on in her small town. A delightful comedy romance.
Justin De Marseille [Maurice Tourneur, 1935] - A French gangster film set in Marseille about a suave but likable gangster who attempts to set the black market business right. A film that captures a particular locale with color and mood and characters in ways that are purely French - but not Parisian.
The Last Valley [James Clavell, 1971] - Novelist James Clavell directed this historical drama set in the 17th century that pits a captain who leads his group of rough shod soldiers into a quiet valley where they consider their next move. Surprisingly good considering it's B-movie trapping.
Millions Like Us [Sidney Gilliat and Frank Launde, 1943] This is one of best British propaganda films made during the war. Tightly scripted, well acted and directed it combines humor, drama, tragedy and the characteristic positive British attitude.
A New Leaf [Elaine May, 1971] - Elaine May's first and possibly best film about a rich man who is soon to lose his fortune and decides to marry a very naive woman whom he plans to kill for the insurance money. A comedy and while not always politically correct or comfortable full of many laughs.
Quatorze Juillet [Rene Clair, 1933] - Clair is best known for Le Million and À nous la liberté but, in fact, this movie is more in the classic tradition of French films of the 1930's. And in my view certainly as good.
A Pig Across Paris [aka Four Bags Full] [Claude Autant-Lara, 1956] - A terrific French comedy set during the Occupation in which Jean Gabin - an erstwhile artist - decides to help [or maybe it's hinder?] his new found friend get pork delivered around Paris. A true classic that deserves to be discovered.
Rome Ore 11 [Giuseppe De Santi, 1952] - Italian drama about a group of women searching for a job in a tough market who experience an accident while waiting in line for an interview. A film right on the heels of Italian neorealism but with a romantic twist.
Here were a few I knew about and finally caught up with.
Applause [Rouben Mamoulian, 1929] - Classic early talkie that used sound in novel ways.
The Blue Lamp [Basil Dearden, 1950] - Awesome British crime drama.
Breakfast at Tiffanies - [Blake Edwards, 1961] Yeah, I know, I hadn't seen this until last year.
The Breaking Point - [Michael Curtz, 1950] John Garfield in a noir classic version of Hemingway's To Have and Have Not.
Contraband - [Michael Powell, 1940] World War II drama with Conrad Veidt as a Danish sea captain who uncovers a Nazi spy ring.
The Lady and the Beard [Yasujiro Ozu, 1931] I had a chance to see this twenty years ago at an Ozu retrospective but passed up the chance. Glad I finally saw it.
Witchfinder General [Michael Reeves,1968] - Terrific British horror drama featuring one of Vincent Price's best roles.
Zoo in Budapest [Rowland Young, 1933] - Always loved the title. And Loretta Young just shines.
Wednesday, January 01, 2014
1) Inside Llewyn Davis - The movie that stayed with me longer than any other this holiday season. Melancholic, melodic and humorous it's a film that shows the Coen Brothers at the top of their game. It's also nice to see one of their characters garner our sympathy a bit. [Some say he is unsympathetic but in my view he simply makes bad choices and knows when he screws up].
2) Gravity - Hollywood - with the talents of Alfonso Cuarón - found how to use IMAX 3D without overdoing the 3D and yet immerse us in an awesome story of survival.
3) Upstream Color - Shane Carruth jumbles his narrative in such a way that is at once perplexing and impressive. At the heart is a movie about doubts and loneliness that just happens to push the narrative envelope a bit so we pay attention.
4) Short Term 12 - If there was justice in the big bad film world then this SWSX winning film by Destin Cretton would be nominated for best picture and Brie Larson would win best actress.
5) Hannah Arendt - This movies dares to tread where few movies do; into the world of intellectual battles. At the heart this movie, by Margarethe von Trotta, is a woman who chose to defend a common
sense idea over common sense.
6) Stories We Tell - Sarah Polley went in search of the mom she
never knew and in the process she found herself.
What else are documentaries supposed to do?
7) All Is Lost - Robert Redford lost at sea for a couple hours, working hard to survive but doomed to sink all without saying anything except 'Fuuuuuuuckkkk!'. What's not to love? J.C. Chandor shows with only two films he has considerable range.
8) Tim's Vermeer - Penn & Teller take on Vermeer. Or more exactly Vermeer art historians in this fascinating, engaging documentary. The theory is certainly debatable but the process of creating a Vermeer is undeniable.
9) The Past - Asghar Farhadi makes films about the complexity of human relations. This is his second film about the effects of divorce and while it may not be as rich as his last film it still offers much more than the average 'divorce picture'.
10) Becoming Traviata - I know what you're saying; What is Becoming Traviata? It's a behind the scenes documentary about a staging of Traviata at the Aix-en-Provence Festival. Presented by Philippe Béziat as a fly on the wall approach it avoids all the reality TV b.s and just shows us professional singers and a director doing what they do best. I was riveted.
The next twenty [alphabetical]:
The Company You Keep
Fill the Void
The Great Beauty
Mother of George
Something in the Air
A Touch of Sin
The World's End
Sunday, December 01, 2013
“They really make me look like a silly billy, don’t you think?” she said. But Ms. Lee says she accepts the screenwriters’ efforts to inject some lightness into the film because, “otherwise, it is a very sad story.”The Great Beauty follows a misanthrop.
"The underlying theme of the film is not so much the decadence of Rome and all that, it really has to do with this fact that people deep down, as horrible, bizarre and gross as they can be, deep down they all have a fragility. And people living that life are trying to find a way to distract themselves, with gossip, being frivolous, going to stupid parties and all that."10 Remakes of Classics by Great Auteurs.
Barbara Stanwyck - no lady of leasure.
Stanwyck, even in her liveliest comic performances, never quite erased a palpable aftertaste of bitterness, and even in her most hard-boiled roles never lost the trace of painful vulnerability.David Cronenberg - Evolution
Cronenberg is a filmmaker of ideas, one being the notion that human beings have merged with technology. His protagonists are often cyborgs as, in some sense, he is as well—not a commercial director with artistic aspirations so much as an avant-garde filmmaker who has contrived a commercial career, in part by remaining in Canada.
Tuesday, October 29, 2013
The latest movie by Nicolas Winding Refn is hardly the disaster that some critics have made it out to be. Far from it, actually. For starters, the cinematography by Larry Smith is amazing. And the set design is a knock out; the characters all seem to exist in a remarkable post rain storm Bangkok exterior and dark neon, glossy. color saturated tableaux interior, which all help to give the film the look of a live action, hothouse, graphic novel.
True, the story isn't much. A man kills a teenage prostitute, her father kills him, the police are involved in a cover-up and Ryan Gosling and mom [Kristin Scott Thomas] come seeking revenge. Amid all of this the themes of morality, judgement, loyalty and betrayal are all swirled together in the narrative like the neon noir that it is. But, like many comic books, the whole story is at the service of the visuals and the style. Yes, the film is an exercise in style. Yet, at 90 minutes, it hardly overstays its welcome because every frame offers up something visually remarkable to behold.
I would say the expectations of Refn after the huge success of Drive - and a long string of other good movies - was such that it pretty much sunk this movie in the eyes if the critics before it was even shown.
But there is a lot here to savor. Other than the look of the film there is Kristin Scott Thomas giving a deliciously bitchy performance as Gosling mother, there's a dream-like, symbolic quality to the editing, which alternates between the reality of what we are seeing and the visions and dreams and flashbacks [or are they flash forwards?] that are in the head of the characters. There's also the dark, deadpan humor that is often accompanied with some sharp, vicious violence. And an engaging, ambient musical sound-scape score that keeps the movie creeping forward [some would say slowly].
In short, I believe Refn and his cast and crew knew exactly what they were up to and what they wanted to achieve with the film. It can be argued that perhaps Refn needs a producer to rein him in. He certainly, too, seems to benefit from having a co-writer as was the case with his last three movies.
Yes, Only God Forgives is not the film of the year and it's also not the film that pushes the range of Refn's talent. But who cares? I would still say this film is pure unfiltered Refn. If you like the way that sounds then dive on in.