Abel Ferrara/ Harvey Keitel original of the film that has recently been remade by the great Werner Herzog.
Herzog's got a job on this hand, and surely won't even try to replicate the thematic stength of this film. Not so much a plot as a character analysis and metaphysical study of the nature of salvation and evil, we have a dank, engaging, red-hot film that reminds one of being put in an oven for ninety minutes.
Keitel is excellent, if he does turn everything up to 11. It is easy to mock at times, but is down with such sincerity and genunine evocation of pain that it should be generally applauded.
It is unflinching in what it does look at, and good for not taking a specific view on the action, rather chronicling it.
The camerawork is fine, giving excellent insights into the enviroment. This is a more explicitly art-house film than perhaps expected, and inevitably has a shared heritage with films such as Taxi Driver. All the better.
A film definetely worth seeing, a tough film, but also an intelligent film that is way outside the Hollywood scene of three act structures and clear cut endings.
Saturday 29 May 2010
Le Mepris (Contempt)
The Godard film, generally considered one of his finest. It's decent enough, but we struggle to have too much of an emotional involvement with any of Godard's characters.
The acting is fine, the shots are interesting and much copied, perhaps losing some of their power due to this but still presenting their fine cinematic beauty and eye with a freshness. Intellectually, the use of Fritz Lang's discourses are occasionally introduced slightly clunkily, but are all the same interesting enough.
So this is a reasonably enjoyable film to watch, but a difficult one to get all that involved in. The male lead is not cool or distant or manly, he is straightforward unlike. Bardot is presented as such a paradigm female it's not entirely possibly to take her as more than a symbol.
The acting is fine, the shots are interesting and much copied, perhaps losing some of their power due to this but still presenting their fine cinematic beauty and eye with a freshness. Intellectually, the use of Fritz Lang's discourses are occasionally introduced slightly clunkily, but are all the same interesting enough.
So this is a reasonably enjoyable film to watch, but a difficult one to get all that involved in. The male lead is not cool or distant or manly, he is straightforward unlike. Bardot is presented as such a paradigm female it's not entirely possibly to take her as more than a symbol.
Saturday 22 May 2010
Pickpocket
Robert Bresson's short and tight classic is well put together and timed, with some laughably smart movements, if it doesn't quite reach the great emotional pitches.
The langour of the lead character, his blankness and the way he walks, all add to a dream-like quality of the screen. The impression is given that there are no backgrounds, that we have large, primary coloured blocks slinking around from one to the other. The lack of emotion shown by the characters, the large open spaces seemingly surrounding everyone and everything, give a quality achieved by perfectly executed, wide direction.
The plot is secondary to form here, it is designed to show wonderful scenes of fingersmith, of suggestion of what we can not see. The character's reticence, at times the lacks of narrative surrounding them and lack of emotional linearity, does have a pleasing roll to it. We certainly don't identify with anyone; this is a strength in the pureness of the piece and is a drawback to traditional wishes for identification. Perhaps a certain mood needs to be reached to fully appreciated the smart aesthetics of Bresson.
Overall, we did enjoy watching this film, if we were not quite able to fully enagage with it. A beautiful, muscular direction in its own way, Bresson will be revisited with more than curiosity.
The langour of the lead character, his blankness and the way he walks, all add to a dream-like quality of the screen. The impression is given that there are no backgrounds, that we have large, primary coloured blocks slinking around from one to the other. The lack of emotion shown by the characters, the large open spaces seemingly surrounding everyone and everything, give a quality achieved by perfectly executed, wide direction.
The plot is secondary to form here, it is designed to show wonderful scenes of fingersmith, of suggestion of what we can not see. The character's reticence, at times the lacks of narrative surrounding them and lack of emotional linearity, does have a pleasing roll to it. We certainly don't identify with anyone; this is a strength in the pureness of the piece and is a drawback to traditional wishes for identification. Perhaps a certain mood needs to be reached to fully appreciated the smart aesthetics of Bresson.
Overall, we did enjoy watching this film, if we were not quite able to fully enagage with it. A beautiful, muscular direction in its own way, Bresson will be revisited with more than curiosity.
2046
Wong Kar-Wai's loose-ish sequel to 'In the Mood For Love'. Part science fiction, part straightforward fiction, it is slow, and utterly incomprehensible if one had not seen 'In The Mood For Love'. It remains, however, a more than decent film, if lacking the wonderful drive and rythm of his predecessors.
Tony Leung's character is less sympathetic, but remains fascinating. Perhaps he becomes rather too unlikable, but if one constantly keeps 'In The Mood' in mind then he remains as an interesting figure. It can sometimes nearly go over the edge insofaras he seems so distant from the previous character; yet it remains a fascinating switch.
The pace is slow and dreamy. We do not have dramatic changes, it is thoughtful and at times can suffer from living at a level of abstraction (the science-fiction scenes). This does not mean that the themes are not fascinating, personal and important. When it does come together, as it does at moments towards the end, the quiet crescendos shock the ears.
Even when rather slight and drifting, the beauty of the cinematography and mis-en-scene remains. Kar-Wei does not so much shoot images as displays the movement of camerawork across colours and layers. This is a more erotic film, which is an interesting move, that spasmodically pays off. It remains the reds, the contrasts, the dark hair and the porcelain skins, that though remain to give the polished, almost music-video beauty. But slower.
'2046' is a rather meandering film to stand on its own, but as a compnaion piece is a worthwhile addition. It has a few moments of lack of drive, but overall it is able to acheieve a powerful whole.
Tony Leung's character is less sympathetic, but remains fascinating. Perhaps he becomes rather too unlikable, but if one constantly keeps 'In The Mood' in mind then he remains as an interesting figure. It can sometimes nearly go over the edge insofaras he seems so distant from the previous character; yet it remains a fascinating switch.
The pace is slow and dreamy. We do not have dramatic changes, it is thoughtful and at times can suffer from living at a level of abstraction (the science-fiction scenes). This does not mean that the themes are not fascinating, personal and important. When it does come together, as it does at moments towards the end, the quiet crescendos shock the ears.
Even when rather slight and drifting, the beauty of the cinematography and mis-en-scene remains. Kar-Wei does not so much shoot images as displays the movement of camerawork across colours and layers. This is a more erotic film, which is an interesting move, that spasmodically pays off. It remains the reds, the contrasts, the dark hair and the porcelain skins, that though remain to give the polished, almost music-video beauty. But slower.
'2046' is a rather meandering film to stand on its own, but as a compnaion piece is a worthwhile addition. It has a few moments of lack of drive, but overall it is able to acheieve a powerful whole.
Wednesday 19 May 2010
In The Mood For Love
More Wong Kar-Wei, this is perhaps his most famous and critically acclaimed film. When it was first watched, it was enjoyed strongly at the time, with a few reservations. After the viewing it stuck in our minds more than perhaps any other film of that period, remembered for its beautiful shots of nightime, the streets, the rain, the cigarette smoke.
On re-watching, we were happy to class it is a magnificent piece of cinema. However, it was not exactly as expected.
It is a very snappy film, with not only fast cuts but a fast story, that is almost jerky at times. It is one of the very few films where the scenes appear to lengthen and spread out as the time moves on. From what is at first a quick, almost rush, from scene to scene and time to time, come more considerate images.
The fast cuts mean that when an image is held, it has great power. Wong Kar-Wei has a technique of colour, of framing, that is perhaps superior to any other director working currently. The beauty of his shots are accentuated by the rareness of opportunity he gives the eye to indulge in them. Just an extra second from his fast pace and camera movement offers glimpses of fabulous beauty. He offers great riches, which seem even more golden as so rarely does he allow one to touch.
One thing to note is that this films images work signifcantly better on a big screen. The trails of cigarette smoke and the wide open rain do not translate to small screens.
The story continues, despite its initial-seeimgly transparency, to be absolutely baffling. We are still not sure precisely what is going on, which is why this film deserves even more re-watching. The performances are exemplary. Maggie Cheung in particular stands out. Tony Leung, saying that, particularly deserves special mention.
This is a terrific film, and a starnger one that it may be known for. It is a difficult film to get to know, and enjoys whipping treats away from its audience. Despite this, it is still though a great joy to see. An important film, not just for its history but for its themes and technical mastery.
On re-watching, we were happy to class it is a magnificent piece of cinema. However, it was not exactly as expected.
It is a very snappy film, with not only fast cuts but a fast story, that is almost jerky at times. It is one of the very few films where the scenes appear to lengthen and spread out as the time moves on. From what is at first a quick, almost rush, from scene to scene and time to time, come more considerate images.
The fast cuts mean that when an image is held, it has great power. Wong Kar-Wei has a technique of colour, of framing, that is perhaps superior to any other director working currently. The beauty of his shots are accentuated by the rareness of opportunity he gives the eye to indulge in them. Just an extra second from his fast pace and camera movement offers glimpses of fabulous beauty. He offers great riches, which seem even more golden as so rarely does he allow one to touch.
One thing to note is that this films images work signifcantly better on a big screen. The trails of cigarette smoke and the wide open rain do not translate to small screens.
The story continues, despite its initial-seeimgly transparency, to be absolutely baffling. We are still not sure precisely what is going on, which is why this film deserves even more re-watching. The performances are exemplary. Maggie Cheung in particular stands out. Tony Leung, saying that, particularly deserves special mention.
This is a terrific film, and a starnger one that it may be known for. It is a difficult film to get to know, and enjoys whipping treats away from its audience. Despite this, it is still though a great joy to see. An important film, not just for its history but for its themes and technical mastery.
Saturday 15 May 2010
Chung-King Express
We enjoyed this film a couple of months ago, and looked forward very much to seeing it again. We were not dissapointed, on re-viewing it became all the better.
The same wonderful bright red and dark visuals, the moments where the camera breaks into the cubist jerks and reality leaves itself. The individual moments that tell us more than whole other films about the loneliness and attempts of contact in the fast city; the pineapple tins and the soft toys.
The second romance, found a smidge overlong and the female a little annoying on first viewing, gained smoothness and beauty now we knew its path. Leung is one of the most incredibly beautiful screen presences around, as he takes off his hat and comes to the counter, we could not help but burst into smiles.
Indeed, on second viewing the whole exercise seemed leaner and more focussed, passing in but a flash. Also more notable was the wonderful jangling guitar repeated riff, not a song jammed into a movie but an evocation of an atmosphere.
Still wonderful, a special film.
The same wonderful bright red and dark visuals, the moments where the camera breaks into the cubist jerks and reality leaves itself. The individual moments that tell us more than whole other films about the loneliness and attempts of contact in the fast city; the pineapple tins and the soft toys.
The second romance, found a smidge overlong and the female a little annoying on first viewing, gained smoothness and beauty now we knew its path. Leung is one of the most incredibly beautiful screen presences around, as he takes off his hat and comes to the counter, we could not help but burst into smiles.
Indeed, on second viewing the whole exercise seemed leaner and more focussed, passing in but a flash. Also more notable was the wonderful jangling guitar repeated riff, not a song jammed into a movie but an evocation of an atmosphere.
Still wonderful, a special film.
Il Postino (The Postman)
Seen as one of the classics of European cinema, this charming film nicely skates between mild pleasures and underlying thoughtfulness.
The Italian sealine is beautiful, the evocation of the island only falls into tweeness when it knows it is doing so. We grow to love the central character, but that does ont innure us from his frequent stupidities. Mario (The Postman) and Pablo Neruda, really form the heart of this film, with the other characters sketched around them. That is fine.
The humour is fun, there is no sense of deep gut-wrenching emotional moves until the last third. This is done intelligently; the situation Neruda finds himself in is a wildly dramatic one, while at the same time his life and the concerns of Mario ARE incredibly placid and light. The film is intellgient in the way it flips us into the serious questions of communism and loss as the film reaches its conclusions, without ever being too jarring.
Again, the acting is excellent, Neruda in particular being a fascinating figure. It leaves us open the most important questions, of art and politics. Rightfully a favourite.
The Italian sealine is beautiful, the evocation of the island only falls into tweeness when it knows it is doing so. We grow to love the central character, but that does ont innure us from his frequent stupidities. Mario (The Postman) and Pablo Neruda, really form the heart of this film, with the other characters sketched around them. That is fine.
The humour is fun, there is no sense of deep gut-wrenching emotional moves until the last third. This is done intelligently; the situation Neruda finds himself in is a wildly dramatic one, while at the same time his life and the concerns of Mario ARE incredibly placid and light. The film is intellgient in the way it flips us into the serious questions of communism and loss as the film reaches its conclusions, without ever being too jarring.
Again, the acting is excellent, Neruda in particular being a fascinating figure. It leaves us open the most important questions, of art and politics. Rightfully a favourite.
4 Months, 3 Weeks And 2 Days
The Palme D'Or winner back in 2007, this Romanian film is seen as one of the better European films of the past decade.
And indeed it is excellent. Well acted, with an especially good lead performance (if the second women is rather irritating). One really gets a feel for the character's fast, changing emotions as the day wears on. The sense of place is also captured wonderfully (1987 Romania), with at once the gritty grimness and the starnge beauty in darkness that is attendent.
The story is also tightly, well told, with a fast pace and each scene contributing something strong in itself. Even when it moves away from the engine of the story, for example towards the scene at the boyfriend's house, we feel we are really finding our something new, not just padding time.
Perhaps the sharp pace and simplicity mean it is not quite as monumentally depressing as many found it. Yes, the story is a grim one, and one particular strand is truly awful. The general themes are those of violence, degradation, and despair. Despite this, the tone is rather one of sadness than agony, in our opinion. The slow unfolding of character is not visceral, but rather a floating away.
A fine film, deserving of its acclaim, if not quite of its guttural reputation. Worth seeing.
And indeed it is excellent. Well acted, with an especially good lead performance (if the second women is rather irritating). One really gets a feel for the character's fast, changing emotions as the day wears on. The sense of place is also captured wonderfully (1987 Romania), with at once the gritty grimness and the starnge beauty in darkness that is attendent.
The story is also tightly, well told, with a fast pace and each scene contributing something strong in itself. Even when it moves away from the engine of the story, for example towards the scene at the boyfriend's house, we feel we are really finding our something new, not just padding time.
Perhaps the sharp pace and simplicity mean it is not quite as monumentally depressing as many found it. Yes, the story is a grim one, and one particular strand is truly awful. The general themes are those of violence, degradation, and despair. Despite this, the tone is rather one of sadness than agony, in our opinion. The slow unfolding of character is not visceral, but rather a floating away.
A fine film, deserving of its acclaim, if not quite of its guttural reputation. Worth seeing.
Thursday 6 May 2010
Oyenstikker (Dragonfly)
A film with some beautiful material to work with, and is worked with in an intellgient way. Despite this, it does rather 'over-egg the pudding', perhaps laying on its violences and emotional resonances too hard, if these are in some ways justified.
The Pinter-esque undercurrents of violence soon becomes pretty obvious over-currents. What is seen at first in an ambiguity of script and deliverance soon becomes all too obvious due to dead dogs and burning barns. The weird and the violent is not so much suggested as thrown into your faces.
Despite this, the uses of language and the idea of one from outside coming in to disturb is a wonderful theme, and the actors in this all deliver fine performances.
This whole film probably works best as a metaphor for having children. With the heat turned down a couple of degrees, it could have been brilliant.
The Pinter-esque undercurrents of violence soon becomes pretty obvious over-currents. What is seen at first in an ambiguity of script and deliverance soon becomes all too obvious due to dead dogs and burning barns. The weird and the violent is not so much suggested as thrown into your faces.
Despite this, the uses of language and the idea of one from outside coming in to disturb is a wonderful theme, and the actors in this all deliver fine performances.
This whole film probably works best as a metaphor for having children. With the heat turned down a couple of degrees, it could have been brilliant.
United 93
This difficult film of the 9/11 attacks is a difficult film to watch, and a difficult film to categorize. As far as holding the attention, creating a feeling on the inside of one and powerfully affecting, it is a combination of brilliant and very good. Entertaining would be the wrong word though. One has never felt to uncomfortable before, wishing that one didn't HAVE to keep watching, so to speak.
This film is especially tightly involving, almost unbearably so, in the moments before the hijackers have taken hold of the plane. The inevitability of what will happen, and of course the tragic results we all know, makes one just want to wish that it happens as quickly as possible, that the horror will just go away. When it does, the film does lose a certain of its brutal affect on the vital organs. Not that it turns into a predictable or boring film after this, just not that it quite grips in the way it did.
The air traffic control scenes are the tight and fast moments at first which involve, the film is well paced as these give way to the scenes from inside flight 93.
The Greengrass wobbly camera game is so well played that one does not even notice it. The claustrophobic locations are well done, one has the sense of a wider world outside that is at once complex and unfeeling.
So, this is a tension-filled piece of cinema, with much of its tightness gained from our foreknoweldge of what must happen. It treats the issue fairly and non-mawkishly by not really getting involved in debates (not much, at least). An important film.
This film is especially tightly involving, almost unbearably so, in the moments before the hijackers have taken hold of the plane. The inevitability of what will happen, and of course the tragic results we all know, makes one just want to wish that it happens as quickly as possible, that the horror will just go away. When it does, the film does lose a certain of its brutal affect on the vital organs. Not that it turns into a predictable or boring film after this, just not that it quite grips in the way it did.
The air traffic control scenes are the tight and fast moments at first which involve, the film is well paced as these give way to the scenes from inside flight 93.
The Greengrass wobbly camera game is so well played that one does not even notice it. The claustrophobic locations are well done, one has the sense of a wider world outside that is at once complex and unfeeling.
So, this is a tension-filled piece of cinema, with much of its tightness gained from our foreknoweldge of what must happen. It treats the issue fairly and non-mawkishly by not really getting involved in debates (not much, at least). An important film.
Paris, Texas
The most famous film, perhaps, for the auteur Wim Wenders. Previously, we had seen 'Alice In The Cities' as one of the finest films of the year, and 'Wings of Desire' as being most dissapointing.
Our analysis of this film suffers, as we fear all of our views of Wenders films will, from a comparison with 'Alice In The Cities'. 'Paris, Texas', is a more than decent film, in fact it's a good film. It is not however a transcendental moment, it is not something outside of the normal world, as 'Alice In The Cities' is.
So what is it? A entertaining film, with some beautiful shots in its particular visual style. It is a slightly uneven film, with changes of viewpoint and emphasis slightly at random. There are individually some fine scenes, such as all those involving the telephone and the one-way glass. It is also, at the same time, a very traidtional film in many respects, about family and about broken relationships.
The music is one of the stars of the film, and is wonderful. It works especially well in the milleu of the desert. The performances are fine, and do the job well. Qhy we lose such focus on what we first had as our primary locus, Travis' brother and his wife, is uncertain. These characters interestingly-directioned development seems starngled just as it is starting to fascinate.
Wender's visual style has a certain quality, as though nearly underwater, with the characters at once being in fine grains and also operating within blank spaces. This film doesn't entirely satisfy as a character study, but it does have some very good moments. All round, it is worth watching and more, but don't expect too much.
Our analysis of this film suffers, as we fear all of our views of Wenders films will, from a comparison with 'Alice In The Cities'. 'Paris, Texas', is a more than decent film, in fact it's a good film. It is not however a transcendental moment, it is not something outside of the normal world, as 'Alice In The Cities' is.
So what is it? A entertaining film, with some beautiful shots in its particular visual style. It is a slightly uneven film, with changes of viewpoint and emphasis slightly at random. There are individually some fine scenes, such as all those involving the telephone and the one-way glass. It is also, at the same time, a very traidtional film in many respects, about family and about broken relationships.
The music is one of the stars of the film, and is wonderful. It works especially well in the milleu of the desert. The performances are fine, and do the job well. Qhy we lose such focus on what we first had as our primary locus, Travis' brother and his wife, is uncertain. These characters interestingly-directioned development seems starngled just as it is starting to fascinate.
Wender's visual style has a certain quality, as though nearly underwater, with the characters at once being in fine grains and also operating within blank spaces. This film doesn't entirely satisfy as a character study, but it does have some very good moments. All round, it is worth watching and more, but don't expect too much.
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