1994, Danny Boyle
Pure shot of narrative
largely telephoto, bit of a mixture
script as a nice tone, period stylings
if all the lines don't quite work
very conventional, so when the story sags, gets a little tedious
doesn't really use lighting very effectively; opportunities, at most a few light/shade contrasts
creation of space too flat, if not flat itself
strong continuity does jump the narrative in a lean manner, but not a huge amount of space
simple, good fun at times, British version of the Cpen brothers tone
also, use of MacGuffin of money. 'Bring Me The Head of Alfredo Garcia' ish
pretty good
Friday 31 December 2010
Don't Look Now
1973 Nicolas Roeg
Clearly very influential, on Lynch etc
use of camera to flick against the actors
always movement either by camera or in frame
constant reframings, taking little bits of the person, from close by. Claustrophobic
use of variety of soundtracks, confusions
Enhanced by use of dark palates, frequent low key on face, backlighting
mixture of out of focus with telephoto, and a bit of wide angled distortion
narrative crosscutting led to associational montage, well restrained
use of red to draw eye, erotic tension, frequently in frame
whole first half brings up a great atmosphere
story sags slightly, suggesting it is a stylistic exercise early on
acting is very good, sexual politics of male P.O.V.
still, a very impressive film
Clearly very influential, on Lynch etc
use of camera to flick against the actors
always movement either by camera or in frame
constant reframings, taking little bits of the person, from close by. Claustrophobic
use of variety of soundtracks, confusions
Enhanced by use of dark palates, frequent low key on face, backlighting
mixture of out of focus with telephoto, and a bit of wide angled distortion
narrative crosscutting led to associational montage, well restrained
use of red to draw eye, erotic tension, frequently in frame
whole first half brings up a great atmosphere
story sags slightly, suggesting it is a stylistic exercise early on
acting is very good, sexual politics of male P.O.V.
still, a very impressive film
Shadows Of Forgotten Ancestors
Stunning, genuinely new-seeming Sergei Parajanov, 1966
looks stunning, use of hot, saturated colours on barren landscape
different skin tones from usual
low contrast, low key lighting? Use of deep focus, but no real sensation of depth
wide angled lenses
shot often handheld, from underneath
absolutely no continuity, no one-eighty rule
no scene to scene matching graphically, almost none narratively
great advance is use of space
not composed symmetrically, disorientates, genuinely exciting
makes one have to postulate off screen space
use of discordant sound, comes from all angles. Music disorientates
constant movement, characters (non continuity) intrude from outside frame)
constant references to what is not in the frame
creates sense of camera not creating space, but in space
use of non-symmetrical, lack of continuity, manages to do this
feels as though genuinely part of the world
maybe only cinema can do this; makes this film at the heights of the cinema
use of fragmented space/ assymetry in a less cool manner than Antonioni, but not dissimilar
watched by Fellini, likely, but use of wide angles more dreamy, more movement
the deep space without space, constant intrusions, make this a true dream
the associational story builds up with spectacular images
a sensational film, pushing at what we believed cinema can be
looks stunning, use of hot, saturated colours on barren landscape
different skin tones from usual
low contrast, low key lighting? Use of deep focus, but no real sensation of depth
wide angled lenses
shot often handheld, from underneath
absolutely no continuity, no one-eighty rule
no scene to scene matching graphically, almost none narratively
great advance is use of space
not composed symmetrically, disorientates, genuinely exciting
makes one have to postulate off screen space
use of discordant sound, comes from all angles. Music disorientates
constant movement, characters (non continuity) intrude from outside frame)
constant references to what is not in the frame
creates sense of camera not creating space, but in space
use of non-symmetrical, lack of continuity, manages to do this
feels as though genuinely part of the world
maybe only cinema can do this; makes this film at the heights of the cinema
use of fragmented space/ assymetry in a less cool manner than Antonioni, but not dissimilar
watched by Fellini, likely, but use of wide angles more dreamy, more movement
the deep space without space, constant intrusions, make this a true dream
the associational story builds up with spectacular images
a sensational film, pushing at what we believed cinema can be
Thursday 30 December 2010
Les Enfants Du Paradis
Marcel Carne, hugely popular 1945 epic
Fast-paced plot, Dickensian level of twists and detail, doesn't sag
characters are manoevred nicely, the plots runs well, each scene has something of interest
the acting is fine, the themes of dream and reality are shown to us
left to meditate on the idea that Baptiste may be better off with love only being on stage
technically, the sets are interesting, rich detail, and poetic with some nearly expressionist shapes in a few scenes
mix of styles, no really one unifying feature
probably most often uses wide angled lens, depth of focus gives sense of largeness to some interiors
largely people interacting in rooms, with three point lighting and continuity
entertaining enough, worth seeing, but no great step anywhere. Slightly inconsequential, for all it epic qualities
Fast-paced plot, Dickensian level of twists and detail, doesn't sag
characters are manoevred nicely, the plots runs well, each scene has something of interest
the acting is fine, the themes of dream and reality are shown to us
left to meditate on the idea that Baptiste may be better off with love only being on stage
technically, the sets are interesting, rich detail, and poetic with some nearly expressionist shapes in a few scenes
mix of styles, no really one unifying feature
probably most often uses wide angled lens, depth of focus gives sense of largeness to some interiors
largely people interacting in rooms, with three point lighting and continuity
entertaining enough, worth seeing, but no great step anywhere. Slightly inconsequential, for all it epic qualities
La Peau Douce (Soft Skin)
1964, Francois Truffaut
Pretty conventional stuff
remarkably small ASL, quick, rythmic editing to convey excitement
good use of backs of head, to make it very Hitchocky (also some sillouhettes)
Clearly Hitchcock influenced all around, with the fast edits and music to indicate suspense (clear uses of audience omniscience suspense, with cross-cutting)
Of course, there is more of a casualness in some of the characterisation
low contrast and pretty high key lighting give it a commercial sheen
which does stop it being able to quite have, again, that sense of horror in Hitchcock
Similarity with 'Jules Et Jim' in the unknowability of the women, the slightly pathetic men
reasonably entertaining, but no great work
Pretty conventional stuff
remarkably small ASL, quick, rythmic editing to convey excitement
good use of backs of head, to make it very Hitchocky (also some sillouhettes)
Clearly Hitchcock influenced all around, with the fast edits and music to indicate suspense (clear uses of audience omniscience suspense, with cross-cutting)
Of course, there is more of a casualness in some of the characterisation
low contrast and pretty high key lighting give it a commercial sheen
which does stop it being able to quite have, again, that sense of horror in Hitchcock
Similarity with 'Jules Et Jim' in the unknowability of the women, the slightly pathetic men
reasonably entertaining, but no great work
Tirez Sur Le Pianiste (Shoot The Pianist)
1960 Francois Truffaut, straight after 'Les Quatre Cents Coups'
story darts about a bit, very Nouvelle Vague
long takes, often with unobtrusive pans
use of mid-shots, also almost Bresson-esque focus on body parts (hands etc) when relevent
As in 'Les Quatre Cents Coups', much street shooting in this style
gives space of city with walking along streets, and back of heads in cars
Noir-ish elements of sudden violence, guns, as well as low key lighting
But tone always remains quite fresh. not mounting horror
Means the film doesn't really reach a high pitch anywhere
not that it isn't good fun, a fine character study
Truffaut's study of outsiders/ civilized trying to fit into the uncivilized
a good fine, not great
story darts about a bit, very Nouvelle Vague
long takes, often with unobtrusive pans
use of mid-shots, also almost Bresson-esque focus on body parts (hands etc) when relevent
As in 'Les Quatre Cents Coups', much street shooting in this style
gives space of city with walking along streets, and back of heads in cars
Noir-ish elements of sudden violence, guns, as well as low key lighting
But tone always remains quite fresh. not mounting horror
Means the film doesn't really reach a high pitch anywhere
not that it isn't good fun, a fine character study
Truffaut's study of outsiders/ civilized trying to fit into the uncivilized
a good fine, not great
Wednesday 29 December 2010
There Will Be Blood
2007 Paul Thomas Anderson, regarded as one of the finest films off the past decade
yes, it's very impressive, but let's not get too carried away
The use of images to tell the story is fine
in parts the cinematography is excellent; long pans
Anderson has great, simple, creation of space around Plainview
washed out backdrops and low key interiors
repeat use of colour schemes; red, for example are well done
as are certain sillouhetted compostions
it is a taut story, excellent in that plot brings out character
problem is that a few scenes seem to come a little from knowehere; random violence
as though the editing was down from too much; unmotivated, but not random (presumption of justification)
the film would be more interesting if viewed from liking/ identifying with Plainview more
Day-Lewis is of course excellent, sidelit with his red face, is given long takes at times
space and edit fragments as it goes on, showing shattering worldview
but the moment is never really reached, we really have a road that lacks an understanding (Anderson presumes we have reached an end, that Plainview is shown as nuts; but this never really happens)
nothing wrong with open endings, but inconsequential, especially in a film about character, is a problem
music is intrusive and loses tension, loses realism, really not impressive
a fine film, which doesn't quite reach the huge expectations it set itself
Of course unfair to compare with 'Kane', but similar arc, this film is excellent but not in that class
rather compare with 'The Murder Of Jesse James'...an interesting comparison, both led by plot,
yes, it's very impressive, but let's not get too carried away
The use of images to tell the story is fine
in parts the cinematography is excellent; long pans
Anderson has great, simple, creation of space around Plainview
washed out backdrops and low key interiors
repeat use of colour schemes; red, for example are well done
as are certain sillouhetted compostions
it is a taut story, excellent in that plot brings out character
problem is that a few scenes seem to come a little from knowehere; random violence
as though the editing was down from too much; unmotivated, but not random (presumption of justification)
the film would be more interesting if viewed from liking/ identifying with Plainview more
Day-Lewis is of course excellent, sidelit with his red face, is given long takes at times
space and edit fragments as it goes on, showing shattering worldview
but the moment is never really reached, we really have a road that lacks an understanding (Anderson presumes we have reached an end, that Plainview is shown as nuts; but this never really happens)
nothing wrong with open endings, but inconsequential, especially in a film about character, is a problem
music is intrusive and loses tension, loses realism, really not impressive
a fine film, which doesn't quite reach the huge expectations it set itself
Of course unfair to compare with 'Kane', but similar arc, this film is excellent but not in that class
rather compare with 'The Murder Of Jesse James'...an interesting comparison, both led by plot,
Whiskey Galore
Not The Best Ealing Comedy, 1949 (Alexander Mackendrick), but a good little piece of fun
accents and a few details, along with melodrama, has a nice biting tone
the story is good fun, at times heartwarming
slightly let down by its structure of too many acts
and is a rather parodied view of Scotland
classic British traditions of three point lighting, zero depth of set etc
nice bit of fun, but not the best
accents and a few details, along with melodrama, has a nice biting tone
the story is good fun, at times heartwarming
slightly let down by its structure of too many acts
and is a rather parodied view of Scotland
classic British traditions of three point lighting, zero depth of set etc
nice bit of fun, but not the best
The Way Back
Really dissapointing new Peter Weir film
Straightforward narrative, entirely lacking in detail
shot of seeing mountain, shot of climbing mountain, shot of over mountain
entirely predictable attempts at characterisation
overly functional one-trait-to-each
nothing particularly interesting in the acting
a few nice shots, but nothing too expert
dull, really poor
Straightforward narrative, entirely lacking in detail
shot of seeing mountain, shot of climbing mountain, shot of over mountain
entirely predictable attempts at characterisation
overly functional one-trait-to-each
nothing particularly interesting in the acting
a few nice shots, but nothing too expert
dull, really poor
A Woman Under The Influence
1974, John Cassavates, American independent
Down at home dispay of acting, psychological depth
use of master shots yes, long takes, but perhaps surprising number of cuts for 'pure acting'
direction really is pretty pragmatic; telephoto refocusses when necessary, also wide angle for stiller scenes
long scenes, stay on the dialgoue
more abstract than the Leigh film, exploring the limits of the social conditions rather than the realities
performances are pitch perfect, go with verite feel of camerawork and film stock (natural lighting)
clear reverses of sanity/ madness/ love/ hate
lack of narrative thrust is impressive
fine, stronger than pure naturalism
Down at home dispay of acting, psychological depth
use of master shots yes, long takes, but perhaps surprising number of cuts for 'pure acting'
direction really is pretty pragmatic; telephoto refocusses when necessary, also wide angle for stiller scenes
long scenes, stay on the dialgoue
more abstract than the Leigh film, exploring the limits of the social conditions rather than the realities
performances are pitch perfect, go with verite feel of camerawork and film stock (natural lighting)
clear reverses of sanity/ madness/ love/ hate
lack of narrative thrust is impressive
fine, stronger than pure naturalism
L'Eclisse
1962 Michelangelo Antonioni
Last of trilogy; L'Avenntura, La Notte- absolutely incredible
use of harsh black and whites at the start, setting off
not at all neat, expressionist, cubist almost
fragmentation, key in the fragmented space
initially have scenes (on roads, in her room) where we get a kamikaze roundness of space
use of entrance/exit, a few sounds, and non continuity cuts to get a sense of the whole space
space is beyond what we see; characters sink into backdrop with costume
stock-market scene; use of longer shots throughout, mid shots here
the mid shots mean we know what's going on, but the space is then utterly fragmented
lack of continuity; not Hollywood close-ups, just confusion, loss of sense of place
time stops making sense, in chaos of market shot from a thousand angles
use of deep focus and differing contrasts give wider space again
characters as unexplainable, part of backdrops
actions that we can't explain; stay with Monica Vitta
She makes one of the great performances, hedonistic but self-knowing, blank
doesn't know what she wants herself
tip into hysteria, lose herself, then return (Blacking-up / lovemaking)
distance between characters in assymetrical framing, small touches
in the stunning final sequence, space takes centre stage
as does light
wonderful, gives time to think (relate to Ozu), but also powerful in itself
A film that gets the deepest into the pauses that makes up relationships
then goes beyond that, in graphic abstraction, to the heights of the cinema
Last of trilogy; L'Avenntura, La Notte- absolutely incredible
use of harsh black and whites at the start, setting off
not at all neat, expressionist, cubist almost
fragmentation, key in the fragmented space
initially have scenes (on roads, in her room) where we get a kamikaze roundness of space
use of entrance/exit, a few sounds, and non continuity cuts to get a sense of the whole space
space is beyond what we see; characters sink into backdrop with costume
stock-market scene; use of longer shots throughout, mid shots here
the mid shots mean we know what's going on, but the space is then utterly fragmented
lack of continuity; not Hollywood close-ups, just confusion, loss of sense of place
time stops making sense, in chaos of market shot from a thousand angles
use of deep focus and differing contrasts give wider space again
characters as unexplainable, part of backdrops
actions that we can't explain; stay with Monica Vitta
She makes one of the great performances, hedonistic but self-knowing, blank
doesn't know what she wants herself
tip into hysteria, lose herself, then return (Blacking-up / lovemaking)
distance between characters in assymetrical framing, small touches
in the stunning final sequence, space takes centre stage
as does light
wonderful, gives time to think (relate to Ozu), but also powerful in itself
A film that gets the deepest into the pauses that makes up relationships
then goes beyond that, in graphic abstraction, to the heights of the cinema
Tuesday 28 December 2010
Another Year
New Mike Leigh film
Tough, tough watch, interesting, leaves much to think on
use of long conversational close ups, continuity style
mixed with a few, not very interesting, wider shots
to Leigh's credit, he is King of psychological 'naturalist' detail
stays long on scenes, brings out deep pyschology, makes it afecting/agonising
Is this just filmed theatre? Yes- dialogue, formally dull?
No- use of close up
certainly not very interesting
relates to what is the point in this exercise?
just shows 'foul given'; suffering of individuals
use of cliches and pretty dull characters, however miserable they might be
central two as emotional vampires
what is the point? Just shows some horrible things happening, in a theatrical model
Leigh makes great strides in a kind of naturalism, use of dialogue/characterisation/duration all important advances, but not ultimately succesful in itself (however engrossing)
Tough, tough watch, interesting, leaves much to think on
use of long conversational close ups, continuity style
mixed with a few, not very interesting, wider shots
to Leigh's credit, he is King of psychological 'naturalist' detail
stays long on scenes, brings out deep pyschology, makes it afecting/agonising
Is this just filmed theatre? Yes- dialogue, formally dull?
No- use of close up
certainly not very interesting
relates to what is the point in this exercise?
just shows 'foul given'; suffering of individuals
use of cliches and pretty dull characters, however miserable they might be
central two as emotional vampires
what is the point? Just shows some horrible things happening, in a theatrical model
Leigh makes great strides in a kind of naturalism, use of dialogue/characterisation/duration all important advances, but not ultimately succesful in itself (however engrossing)
The Lady From Shanghai
Jaw-droppingly good/brilliant/ genius from Orson Welles (starring him and Rita Hayworth), 1947
use of narration
one of many examples of Welles taking the film form beyond what anyone else would do
use of montage most confident, fastest, most aggressive since Eisenstein
throwing images in the face
courtroom scene, Joan of Arc esque isolation of Welles in dock
acting of Hayworth as femme fatale, expressionistic performances from all
accentuated by the super close-ups using the wide angled lens
looming over
gives the Wellesian depth of field, along with those huge contrasts (sillouhettes, beach, aquarium)
dramatic high and low angles
if the ASL lessens at the end, early longer takes with some whip-crack camera movements
Welles also has his swoop in- cross of omniscience with Noirish confusion (like 'Kane')
A bamboozling Noir, quite deliberately, story makes little sense
deliberately bringing to logical culmination the insanity/ self-destructiveness of Noir
Welles recognises that noir is the apocalpyptic genre
deliberately overdone, overwild
final sequences around the funfare is beyond stunning (precursor in 'Kane'?)
use of multiple images to show loss of identity/ confusion/ appearance
Welles creates stunning images, bringing the film form to his limit
the deceptively omniscient tone, then the chaos, leads to the world, even in long-view, seen as terror
as a noir, up there with 'Falcon'
As cinema, can anyone even compete with Welles?
use of narration
one of many examples of Welles taking the film form beyond what anyone else would do
use of montage most confident, fastest, most aggressive since Eisenstein
throwing images in the face
courtroom scene, Joan of Arc esque isolation of Welles in dock
acting of Hayworth as femme fatale, expressionistic performances from all
accentuated by the super close-ups using the wide angled lens
looming over
gives the Wellesian depth of field, along with those huge contrasts (sillouhettes, beach, aquarium)
dramatic high and low angles
if the ASL lessens at the end, early longer takes with some whip-crack camera movements
Welles also has his swoop in- cross of omniscience with Noirish confusion (like 'Kane')
A bamboozling Noir, quite deliberately, story makes little sense
deliberately bringing to logical culmination the insanity/ self-destructiveness of Noir
Welles recognises that noir is the apocalpyptic genre
deliberately overdone, overwild
final sequences around the funfare is beyond stunning (precursor in 'Kane'?)
use of multiple images to show loss of identity/ confusion/ appearance
Welles creates stunning images, bringing the film form to his limit
the deceptively omniscient tone, then the chaos, leads to the world, even in long-view, seen as terror
as a noir, up there with 'Falcon'
As cinema, can anyone even compete with Welles?
Three Times
2005, acclaimed Hou Hsiao-hsien
really enjoyed this tryptich, teased out parts of each other, and stood alone
long takes, luscious smooth camera movements
use of colour and lighting to set off stark images with telephoto lens
first story has costume standing out against backdrop
backlighting emphasised starkness
two dimensional , not much space
second story uses distance more, fist use of near and far space, wider shots
characters costumes dissappear into the setting
third story racks up the space, large distances, dislocations
also the most fragmented, bitty story, with washed out clothes
actors obviously show great variety
music in fist two segments as well done as can be
each segement shows change, through asking to compare similarities
if the final third is the weakest, still an excellent collection
really enjoyed this tryptich, teased out parts of each other, and stood alone
long takes, luscious smooth camera movements
use of colour and lighting to set off stark images with telephoto lens
first story has costume standing out against backdrop
backlighting emphasised starkness
two dimensional , not much space
second story uses distance more, fist use of near and far space, wider shots
characters costumes dissappear into the setting
third story racks up the space, large distances, dislocations
also the most fragmented, bitty story, with washed out clothes
actors obviously show great variety
music in fist two segments as well done as can be
each segement shows change, through asking to compare similarities
if the final third is the weakest, still an excellent collection
The Exterminating Angel
Luis Bunuel 1962
Wicked satire, repeated and developed in his later work
higher contrast, sharper images that 'Viridiana'
use of confined space; again little depth initially but moves around to create it
narrative of fragements of stories
relief of move to outside
as straightforwardly absurdist as Bunuel gets; though at once low-key and believable
again means this isn't symbolism; just intrusions of anarchy
great physical transformation of actors
second to last sequence is a chuckling parable
but doesn't let the viewer get complacent; final scenes are stunning and baffling. Violent
Wicked satire, repeated and developed in his later work
higher contrast, sharper images that 'Viridiana'
use of confined space; again little depth initially but moves around to create it
narrative of fragements of stories
relief of move to outside
as straightforwardly absurdist as Bunuel gets; though at once low-key and believable
again means this isn't symbolism; just intrusions of anarchy
great physical transformation of actors
second to last sequence is a chuckling parable
but doesn't let the viewer get complacent; final scenes are stunning and baffling. Violent
Sunday 26 December 2010
Viridiana
1961 Luis Bunuel
classic Bunuel in that incredibly overdeterminded/ baffling
also use of obscenity
and bourgeios hiding deep psychonanalsed fetishishes etc
use of low contrast
and telephoto lens, stagey sets
Bunuel though creates space by a constant fluid movement of the camera
swooping in and out, using it as the eye of the viewer to notice
use of fetishised women and serene acting style
a sense of horror, demanding of the viewer
as always with the great Bunuel, very watchable and very difficult to get a hold on
Cries out for multiple views
classic Bunuel in that incredibly overdeterminded/ baffling
also use of obscenity
and bourgeios hiding deep psychonanalsed fetishishes etc
use of low contrast
and telephoto lens, stagey sets
Bunuel though creates space by a constant fluid movement of the camera
swooping in and out, using it as the eye of the viewer to notice
use of fetishised women and serene acting style
a sense of horror, demanding of the viewer
as always with the great Bunuel, very watchable and very difficult to get a hold on
Cries out for multiple views
The Sand Pebbles
Robert Wise movie of 1966, Steve McQueen getting the lead
big epic with the kitchen sink; foreign locales, romance, action, war, all that
very standard in just about every way; not bad or good
starts well, nice us of deep focus, backlighting
space of the ship is usually too flat, but a couple of good edits
McQueen's character wonderfully delineated; man obsessed with machinery, taken away in anti-imperialist move
could read the whole film as anti-imperialist, showing failure of that (ending)
but simply too much shooting of foreigners, too anglo-centric characterisation
indeed, pretty racist in depiction of Chinese as other, not given characters
deep mundanity of direction and plot arcs
just runs through standard, pretty offensive arcs. Ciphers of foreigners and women
ending doesn't really make up for this
good to watch now and again, but this is nothing more really that deeply average standard Hollywood fare
big epic with the kitchen sink; foreign locales, romance, action, war, all that
very standard in just about every way; not bad or good
starts well, nice us of deep focus, backlighting
space of the ship is usually too flat, but a couple of good edits
McQueen's character wonderfully delineated; man obsessed with machinery, taken away in anti-imperialist move
could read the whole film as anti-imperialist, showing failure of that (ending)
but simply too much shooting of foreigners, too anglo-centric characterisation
indeed, pretty racist in depiction of Chinese as other, not given characters
deep mundanity of direction and plot arcs
just runs through standard, pretty offensive arcs. Ciphers of foreigners and women
ending doesn't really make up for this
good to watch now and again, but this is nothing more really that deeply average standard Hollywood fare
True Grit
1969 John Wayne, Henry Hathaway
can see why the Coen Brothers are remaking- downright weird
starts really very engaging; offbeat use of girl with hangings etc
Wayne is better than usual, less board-like
editing a little haphazard, bu rolls along
character development is minimal; leads to not caring
ergo dull last half hour
but still weird; farcical action sequences
an interesting curio, if not a very good film
can see why the Coen Brothers are remaking- downright weird
starts really very engaging; offbeat use of girl with hangings etc
Wayne is better than usual, less board-like
editing a little haphazard, bu rolls along
character development is minimal; leads to not caring
ergo dull last half hour
but still weird; farcical action sequences
an interesting curio, if not a very good film
The Sons Of Katie Elder
1965, John Wayne (Henry Hathaway)
John Wayne is a lump, and a little wooden in everything, but strong beyond reason
pretty good fun, especially at the start
always the wide shots
pretty down the line direction, not much there
story can't quite build up pathos, but halfway decent
gets a bit dull, but not bad at all
John Wayne is a lump, and a little wooden in everything, but strong beyond reason
pretty good fun, especially at the start
always the wide shots
pretty down the line direction, not much there
story can't quite build up pathos, but halfway decent
gets a bit dull, but not bad at all
The Man Who Shot Liberty Valance
John Wayne, Jimmy Stewart, John Ford- Wow!
One of the better, modern Westernes
simple use of contrasting characters- Wayne/Stewart
Strong use of negative characterisation, gives a little edge
story is simple, if cattle but not entirely necessary (end a little obvious?)
Direction is on sets, but is seemless usually
not scared to occassionaly break continuity, but largely invisible
low contrast cinematography
wonderful direction of shooting scene- use of shadows
well told story, exciting
Ford clearly a master
One of the better, modern Westernes
simple use of contrasting characters- Wayne/Stewart
Strong use of negative characterisation, gives a little edge
story is simple, if cattle but not entirely necessary (end a little obvious?)
Direction is on sets, but is seemless usually
not scared to occassionaly break continuity, but largely invisible
low contrast cinematography
wonderful direction of shooting scene- use of shadows
well told story, exciting
Ford clearly a master
Bande a Part
1964, Jean-Luc Cinema Godard
more classically shot
apart from high high indoor contrast (natural otherwise)
long pans, though not tracking
classical in sense of wider takes, full bodies. Gun Crazy (end of Vivre Sa Vie)
Most Bout de Souffle- ish
deconstructive homage to gangsterism
great fun, all the same
some bits work better than others, there you are
not anti woman, just analysing that strand
Godard is cinema
more classically shot
apart from high high indoor contrast (natural otherwise)
long pans, though not tracking
classical in sense of wider takes, full bodies. Gun Crazy (end of Vivre Sa Vie)
Most Bout de Souffle- ish
deconstructive homage to gangsterism
great fun, all the same
some bits work better than others, there you are
not anti woman, just analysing that strand
Godard is cinema
Friday 24 December 2010
La Chinoise
Jean-Luc Godard, 1967
very entertaining, really flys by
(generally) hard lighting. Use of red, blue, yellow colours
interesting political debate
very funny, moving
Leaud as fantastic, really get something out of the others too
Godard at once sympathising and seeing beyond
use of intellectual on train (lit differently) really shows Godard's critique
self-reflexivity justified and well used- turns it into a genuine debate
one of Godard's most satisfying films, perhaps most entertaining. Has some immense scenes, involving relationships, too
very entertaining, really flys by
(generally) hard lighting. Use of red, blue, yellow colours
interesting political debate
very funny, moving
Leaud as fantastic, really get something out of the others too
Godard at once sympathising and seeing beyond
use of intellectual on train (lit differently) really shows Godard's critique
self-reflexivity justified and well used- turns it into a genuine debate
one of Godard's most satisfying films, perhaps most entertaining. Has some immense scenes, involving relationships, too
Two Or Three Things I Know About Her
1967, Jean-Luc Godard
fragmented narrative, many long shots
some more arresting than others, generally good dialogue
striking images
heavily lit, more than before
shots of industry
genuinely invites thought, brings into conversation
maybe needs a few watches
fragmented narrative, many long shots
some more arresting than others, generally good dialogue
striking images
heavily lit, more than before
shots of industry
genuinely invites thought, brings into conversation
maybe needs a few watches
The Bishop's Wife
1947 from Henry Koster, or Cary Grant and David Niven
masses of accents
continuity ahoy, stage sets obvious
everyone lit fully
Grant as rather bizarre, but electric; like as a star he is the angel
Niven is rather more believable
enjoyable, if a bit perfunctory, hurry up at times
magical scene on the ice
but no big emotional payoff
masses of accents
continuity ahoy, stage sets obvious
everyone lit fully
Grant as rather bizarre, but electric; like as a star he is the angel
Niven is rather more believable
enjoyable, if a bit perfunctory, hurry up at times
magical scene on the ice
but no big emotional payoff
Gertrud
1964 Carl Theodor Dreyer
downright bizarre cast movement- dreamworld
more stagey than ever
use of light, again, for faces
few powerful moments with overexposure
plot is classic scandanavian tradition
difficult to see much, filmically, beyond that
downright bizarre cast movement- dreamworld
more stagey than ever
use of light, again, for faces
few powerful moments with overexposure
plot is classic scandanavian tradition
difficult to see much, filmically, beyond that
Wednesday 22 December 2010
Ordet
Carl Theodor Dreyer 1955
very stagey
use of light again
off stage sound (in Day Of Wrath) too
shows how what isn't there that matters
swinging back and forth with religious themesthough underplayed, in simplicity really makes it clear
is the end deserved? Doubtless powerful, but need to really invest to get it
Really very much like a stage (part from couple of headshots)
very stagey
use of light again
off stage sound (in Day Of Wrath) too
shows how what isn't there that matters
swinging back and forth with religious themesthough underplayed, in simplicity really makes it clear
is the end deserved? Doubtless powerful, but need to really invest to get it
Really very much like a stage (part from couple of headshots)
Day Of Wrath
1943 Carl Theodor Dreyer
Changing characters
more than just one way on the sympathy, though ends more clearly
use of light to show attention. Trope of white around the face
huge, high contrast
sensational, baroque framing
very realist despite these touches
long pans
a steady story, concentrate hard as underplayed
a few sensational scenes, light, slow walking
looks great at times, if a little stagey
Changing characters
more than just one way on the sympathy, though ends more clearly
use of light to show attention. Trope of white around the face
huge, high contrast
sensational, baroque framing
very realist despite these touches
long pans
a steady story, concentrate hard as underplayed
a few sensational scenes, light, slow walking
looks great at times, if a little stagey
Detective
Jean-Luc Godard 1985
Fragments of the story
incredibly confusing, occassionally dull, some nice moments
good acting from the superstars, though always tough to keep up interest
sharp contrasts
the end of the narrative cinema? Forefront of theory
impressive at times, but needs a lot of work
Fragments of the story
incredibly confusing, occassionally dull, some nice moments
good acting from the superstars, though always tough to keep up interest
sharp contrasts
the end of the narrative cinema? Forefront of theory
impressive at times, but needs a lot of work
Boudu Saved From Drowning
Use of depth
more enjoyable second time
yes, Renoir loves every character, but really very biting
use of Boudu at the start; comedy sequence? Comment?
Lovely, funny at times, very good (not technically perfect as 'Regle De Jeu'
more enjoyable second time
yes, Renoir loves every character, but really very biting
use of Boudu at the start; comedy sequence? Comment?
Lovely, funny at times, very good (not technically perfect as 'Regle De Jeu'
Masculin Feminin
Jean-Luc Godard, 1966
Great first half
mix of political conversation and striking images
stills on faces and tracking shots. Fast film
not cold, but very personal
use of guns to confuse
use of sound to mess with perceptions and to create space
politics and the personal intersect
Leaud is intense, young
runs out a bit, not political enough?
tough to keep interest up minus narrative
Great first half
mix of political conversation and striking images
stills on faces and tracking shots. Fast film
not cold, but very personal
use of guns to confuse
use of sound to mess with perceptions and to create space
politics and the personal intersect
Leaud is intense, young
runs out a bit, not political enough?
tough to keep interest up minus narrative
Tuesday 21 December 2010
Helas Pour Moi
Jean-Luc Godard, 1993
difficuly to follow, understand, poetic
Godard's horizontal space in long pans
mix this with heavy backlighting
use of sound, to create self-reference, demonstrate artifice, take off guard
opaque, but with moments
difficuly to follow, understand, poetic
Godard's horizontal space in long pans
mix this with heavy backlighting
use of sound, to create self-reference, demonstrate artifice, take off guard
opaque, but with moments
Somewhere
Sophia Coppola, new
long images, wide shots much of the time
lets them act, gets into a rythm
graphic matches withing the scenes and without
a few good compositions, using deep space
idea of inability to communicate, be good
not self-indulgent, portrait of all modern life
trying to be good where the concept of good doesn't exist
use of crane shot- hedonism as La Dolce Vita
a few missteps, but generally very impressive, unHollywood style
best Hollywood filmmaker working?
long images, wide shots much of the time
lets them act, gets into a rythm
graphic matches withing the scenes and without
a few good compositions, using deep space
idea of inability to communicate, be good
not self-indulgent, portrait of all modern life
trying to be good where the concept of good doesn't exist
use of crane shot- hedonism as La Dolce Vita
a few missteps, but generally very impressive, unHollywood style
best Hollywood filmmaker working?
Vivre Sa Vie
1962 movie from Jean-Luc Godard, and likely the favourite of his movies that we have seen.
Opening shot; obscures faces, keeps depth through mirror use. And dark contrasts
relation of showing a face to Jeanne D'Arc, idea of the close up
narrative just about follows
use of long takes with moving camera. Pans, reframings, stay aware of camera
use of mirrors
use of sound; cutting out, showing artifice. Subtitled section indicating its a 'fake'- a movie
idea of life versus thought, the relation
comes to self-reflexivity, naturally and well
we are asked if we should mind that this is (only) a film. Is this part a film, or reality
great ending, shot in the master-take to make it U.S. exploitation filmic
impressive reflexivity
Opening shot; obscures faces, keeps depth through mirror use. And dark contrasts
relation of showing a face to Jeanne D'Arc, idea of the close up
narrative just about follows
use of long takes with moving camera. Pans, reframings, stay aware of camera
use of mirrors
use of sound; cutting out, showing artifice. Subtitled section indicating its a 'fake'- a movie
idea of life versus thought, the relation
comes to self-reflexivity, naturally and well
we are asked if we should mind that this is (only) a film. Is this part a film, or reality
great ending, shot in the master-take to make it U.S. exploitation filmic
impressive reflexivity
Monday 20 December 2010
The Thing
John Carpenter
Not very interesting direction
blood n guts and gore
nice build up and so on
really good bit was the narrative switch
couple of funny lines
shit, but a few things to learn
Not very interesting direction
blood n guts and gore
nice build up and so on
really good bit was the narrative switch
couple of funny lines
shit, but a few things to learn
Monsters
Super low budget-indie ish feel
but still hollywood crap in script in plot
nice graphics
beautiful moment at one point
still rather hokum, if exciting on occassion
but still hollywood crap in script in plot
nice graphics
beautiful moment at one point
still rather hokum, if exciting on occassion
An Ordinary Execution
not very believable, but quite good
why the wide angled lens? Russian? Otherwordly, often used for totalitarianism
note also deep compositions, low angles
cuts too much, but still creates some nice compositions
still quite good, nice shots
wonderfully dream like at times, wonderful exit scene
low contrast
random, story bits
why the wide angled lens? Russian? Otherwordly, often used for totalitarianism
note also deep compositions, low angles
cuts too much, but still creates some nice compositions
still quite good, nice shots
wonderfully dream like at times, wonderful exit scene
low contrast
random, story bits
Carlos
Bond Movie, basil exposition
Fast filmstock, darkish contrasts
bit of moving around, mixed with continuity editing
episodic, clearly ofr bigger part
not exactly in depth
bit one damn thing after another, but really quite entertaining
Fast filmstock, darkish contrasts
bit of moving around, mixed with continuity editing
episodic, clearly ofr bigger part
not exactly in depth
bit one damn thing after another, but really quite entertaining
Sunday 19 December 2010
Des Hommes et Des Dieux (Of Gods And Men)
New film- Xavier Beauvois
Use of vertical/ horizontal. depth inside, blacklighting, monks/ horizontal pans
relate to landscape- telephot lens means has to be shot in daytime
creates geometry of monks
use of turning towards the light. Break ups of symmetry
hardowrking film, very very fragemented narrative
builds up, works hard to reach monstrous music scene
witnesses, rather than lives. Too documentarian?
Very good, but not perfect
Use of vertical/ horizontal. depth inside, blacklighting, monks/ horizontal pans
relate to landscape- telephot lens means has to be shot in daytime
creates geometry of monks
use of turning towards the light. Break ups of symmetry
hardowrking film, very very fragemented narrative
builds up, works hard to reach monstrous music scene
witnesses, rather than lives. Too documentarian?
Very good, but not perfect
Boudu Saved From Drowning
Renoir 1932
Renoir sympathyic to every character, even double crossing bourgeois
Use of Boudu as central/ in relation to others
planting traps around the ouse. low contrast
dreamy interiors, faster film outside
Boudu taking the outside inside/ mixes of this
use of deep space
not realistic in any way
Renoir-elegance hides a fragmented, almost impressionistic narrative
looks easy, but layers and layers make it difficult
Renoir sympathyic to every character, even double crossing bourgeois
Use of Boudu as central/ in relation to others
planting traps around the ouse. low contrast
dreamy interiors, faster film outside
Boudu taking the outside inside/ mixes of this
use of deep space
not realistic in any way
Renoir-elegance hides a fragmented, almost impressionistic narrative
looks easy, but layers and layers make it difficult
The Shop Around The Corner
Ernst Lubitsch 1940
Shadowless lightening
Stewarts face as bright, soft focus. Younger. Electric
Couple of jumos, classic continuity
Quite funny, pleasurable
Builds up tension, big ending
Themes?
Shadowless lightening
Stewarts face as bright, soft focus. Younger. Electric
Couple of jumos, classic continuity
Quite funny, pleasurable
Builds up tension, big ending
Themes?
Saturday 18 December 2010
BFI Short Films: Beginnings
Amelia and the Angel; Ken Russell, 1958; This is a terrific little piece, genuinely innovative, using the image in ways embarrassingly rare among British filmmakers. Undoubtedly a part of some kind of new-wave, this is playful, with street shooting and an emphasis on character, childlike simplicity. It adopts impressionist images, giving us a sense of interiority similar to earlier French work. The sharp constrasts, the casting shadows gives it a legacy in some of the European Poe-like adaptations, bit it quickly changes to more fairytale registers, moving out of focus. O.K, some of the symbols are a little heavy handed, but generally it is nicely ambiguous, the dancing adults and dog are well portrayed curios. Notice also the sound and image disjunction, again showing the non-reliance on narrative, drawing attention to the fine images. In taking real care for the form, a better path for British film.
Boy and Bicycle; Ridley Scott, 1956; This film shows some good inventiveness, angled camera shots and a concern for objects. However, it quickly reveals that it really only has 3 camera moves. This makes it predictable and a little mawkish, heightened by the awful modernist voiceover. There are a few good evocations of feeling, but this is not too great.
The Burning; Stephen Frears; 1967; A Straight narrative, which is fitfully interesting for the character of the boy, but one would really rather read a book. It is generally dull, not taking much care for the medium. Note also the poor use of space for narrative purposes, characters walking int places where nothing should exist. Fine for stylish films, this just hems in the supposedly socially conscious narrative.
I’m British But....; Gurinder Chadha, 1989
Where’s the Money Ronnie!; Shane Meadows, 1996
Boy and Bicycle; Ridley Scott, 1956; This film shows some good inventiveness, angled camera shots and a concern for objects. However, it quickly reveals that it really only has 3 camera moves. This makes it predictable and a little mawkish, heightened by the awful modernist voiceover. There are a few good evocations of feeling, but this is not too great.
The Burning; Stephen Frears; 1967; A Straight narrative, which is fitfully interesting for the character of the boy, but one would really rather read a book. It is generally dull, not taking much care for the medium. Note also the poor use of space for narrative purposes, characters walking int places where nothing should exist. Fine for stylish films, this just hems in the supposedly socially conscious narrative.
I’m British But....; Gurinder Chadha, 1989
Where’s the Money Ronnie!; Shane Meadows, 1996
Thursday 16 December 2010
Taste Of Cherry
1997 Abbas Kiarostami
Sharp, dark people against yellow. white/ sand,backgrounds
3 or f camera uses; claustrophobia. Move out to longer shots. Frames within frames
usual Kiarostami; long takes, driving, still
Use of language, simple, poetic
Clearer, less opaque than usual. Direct
Normal people, sometimes ugly
the right ending, if difficult. Avoid easy route. Time to think in the last few shots
Sharp, dark people against yellow. white/ sand,backgrounds
3 or f camera uses; claustrophobia. Move out to longer shots. Frames within frames
usual Kiarostami; long takes, driving, still
Use of language, simple, poetic
Clearer, less opaque than usual. Direct
Normal people, sometimes ugly
the right ending, if difficult. Avoid easy route. Time to think in the last few shots
Wednesday 15 December 2010
One Flew Over The Cukoo's Nest
Milos Forman 1975
flat, telephoto.No focus Similarity of colours
more shadows as went on, all round lighting earlier
muck around editing; no sense of space created. Claustrophobic
huge contrast with the dark colours outside (Mc murphy hat inside)
Ignore last few shots
political; best moment when he passes out, long shot of the face
flat, telephoto.No focus Similarity of colours
more shadows as went on, all round lighting earlier
muck around editing; no sense of space created. Claustrophobic
huge contrast with the dark colours outside (Mc murphy hat inside)
Ignore last few shots
political; best moment when he passes out, long shot of the face
Tuesday 14 December 2010
Ladri Di Biciclette (Bicycle Thieves)
Vittorio de Sica 1948
Wide open space created by long shots
use of horizintal streets, and axis towards camera. Contribute to cityscape (as Rosselini, of the city, but different techniques)
film of performances; tense, hard hands
back lighting, generally hard lit
panning shots from the side
rules broken, investigative shooting
bare interiors
scenes- epileptic, final, rain- all hugely overdetermined
deceptively simple, ans simple, byt more themes shooting off than Rosselini
Wide open space created by long shots
use of horizintal streets, and axis towards camera. Contribute to cityscape (as Rosselini, of the city, but different techniques)
film of performances; tense, hard hands
back lighting, generally hard lit
panning shots from the side
rules broken, investigative shooting
bare interiors
scenes- epileptic, final, rain- all hugely overdetermined
deceptively simple, ans simple, byt more themes shooting off than Rosselini
Roma, Cita Aperta(Rome, Open City)
Roberto Rossellini 1945
Fast
lighting on faces, and in the rooms
relatively conventionally put together
narrow, all stuffed together, quite deep
quality of film stock, quite close camera but many different locations give cityscape
shock character
mix of stories/ ambiguities of character. Unconventional, short goals (ramps up at end)
big hearted humanism, not mawkish
Fast
lighting on faces, and in the rooms
relatively conventionally put together
narrow, all stuffed together, quite deep
quality of film stock, quite close camera but many different locations give cityscape
shock character
mix of stories/ ambiguities of character. Unconventional, short goals (ramps up at end)
big hearted humanism, not mawkish
Friday 10 December 2010
Picnic At Hanging Rock
Peter Weir's 1975 movie, that appears to have aged very well, that is being revived and popular in recent years. It is not without fault, but is a film of deep themes, well made.
The early shots use costume and non-backlighting to make the girls sink into the walls. This contrasted with the hugely exposed outdoor from the windows, and the red of the skin that burns throughout the whole film. This signals the main theme of the film; the female sexuality that explodes on the order, that can't be contained.
It is almost the image of the mythical ur-woman, the earth female who can't be portrayed on the screen. The English gentleman is the signifier for the filmmaker; who desperately attempts to capture some kind of view, but is left only with enigmatic traces. The scene of the cloth is the finest moment of the film, put perhaps this theme comes a little bit too quickly. The film is slightly too taken up with extreme expressionist angles, which can rather overcook it. We would rather this wasn't combined with the music also, leading to it being rather overdone on occassion.
Reading the signs of the female body are fascinating. The relations to cyclical time, the sexual organ symbols of the settings and props. There are good use of these, also in the character of Mrs Appleyard, who is a well set character, nicely set off against Queen Victoria in a dim nod towards colonialism.
The plot changes are interesting enough, largely quite readable after the initial problems (a late death). Perhaps even more mystery would have helped, but then that would have dpreived us of some fine late scenes of contrasting colours of the girl who can leave, and she who can't.
So, an impressive film, not perfect, but with many interesting compositions and themes.
The early shots use costume and non-backlighting to make the girls sink into the walls. This contrasted with the hugely exposed outdoor from the windows, and the red of the skin that burns throughout the whole film. This signals the main theme of the film; the female sexuality that explodes on the order, that can't be contained.
It is almost the image of the mythical ur-woman, the earth female who can't be portrayed on the screen. The English gentleman is the signifier for the filmmaker; who desperately attempts to capture some kind of view, but is left only with enigmatic traces. The scene of the cloth is the finest moment of the film, put perhaps this theme comes a little bit too quickly. The film is slightly too taken up with extreme expressionist angles, which can rather overcook it. We would rather this wasn't combined with the music also, leading to it being rather overdone on occassion.
Reading the signs of the female body are fascinating. The relations to cyclical time, the sexual organ symbols of the settings and props. There are good use of these, also in the character of Mrs Appleyard, who is a well set character, nicely set off against Queen Victoria in a dim nod towards colonialism.
The plot changes are interesting enough, largely quite readable after the initial problems (a late death). Perhaps even more mystery would have helped, but then that would have dpreived us of some fine late scenes of contrasting colours of the girl who can leave, and she who can't.
So, an impressive film, not perfect, but with many interesting compositions and themes.
Le Boucher (The Butcher)
The late Claude Chabrol, seen as perhaps the most 'mainstream' of the key new wave directors, made this fine little film in 1970. Wr found it precidely at the axis of the point where Alfred Hitchcock and Luis Bunuel intersect.
The Hitchockian elements; that is the slow build up of tension, the atmosphere of creeking unease. We don't have the Bernard Hermann brass band, but from the very beginning the soundtrack gives us a presentiment. Indeed, there is something slightly delicious of the violence here. The viewer feels a glee at picking it apart, a kind of fun in the violence. There is a sharp little stab of black humour here, very Hitchcockian.
The Luis Bunuel line is the flat surface where tensions boil, but are ultimately completely unseen. The way the characters are manipulating each other, putting each other to horrendous acts, but there is no sign of anything. This cool surface, in the way they walk and the muted, bare sets of the small town, give us a film of surfaces, which makes the viewer wish to really examine the whole screen.
There are a couple of nice twists, and some excellent shots at the end, particularly on the trolley. This was a great personal device, the difference and closeness in tone really bringing out strong emphasis. They, like the film as a whole, was a stab of real pleasure and interest.
The Hitchockian elements; that is the slow build up of tension, the atmosphere of creeking unease. We don't have the Bernard Hermann brass band, but from the very beginning the soundtrack gives us a presentiment. Indeed, there is something slightly delicious of the violence here. The viewer feels a glee at picking it apart, a kind of fun in the violence. There is a sharp little stab of black humour here, very Hitchcockian.
The Luis Bunuel line is the flat surface where tensions boil, but are ultimately completely unseen. The way the characters are manipulating each other, putting each other to horrendous acts, but there is no sign of anything. This cool surface, in the way they walk and the muted, bare sets of the small town, give us a film of surfaces, which makes the viewer wish to really examine the whole screen.
There are a couple of nice twists, and some excellent shots at the end, particularly on the trolley. This was a great personal device, the difference and closeness in tone really bringing out strong emphasis. They, like the film as a whole, was a stab of real pleasure and interest.
La Salaire De La Peur (The Wages Of Fear)
Henri-Georges Clouzot's 1953 movie, that proved hugely popular and it seen as one of the totems of a fine career. We weren't completely sold, but would be hesitant to criticis it too much; a total criticism is difficult, considering how different the two halves of the film are (in content, perhaps more than thematically).
The opening uses some nice tracking and camera movements, giving us long shots that really convey a sense of passing time. Space is not (generally) cut up, and this bleeds into the general atmosphere. That is of a kind of dry sweat, a dusty heat, and parching, with white to yellow heavily exposed areas (contrasted with the low-key lighting of the interiors). The finest performance in this is the at once petulant, but with a sharp radiance, of the female lead, Vera Clouzot. One of the problems we had of this film is how she effectively dissappers.
Our problem with the second half is that it all becomes a little standard, a little hoary. Except for a not particularly built up masculinity, it is difficult to find too much of a reason to care. It is too easy to sink in and frankly forget what went before. It seems to turn into just various set pieces, and, oddly considering how incredibly Clouzot built up tension in 'Les Diaboliques', suspense didn't seem to feature too heavily here.
Perhaps something was missed, perhaps we will engage more on examination of greater detail, emphasising and identifying with thw characters more, to be brought into the second half. For now, we were rather underwhelmed.
The opening uses some nice tracking and camera movements, giving us long shots that really convey a sense of passing time. Space is not (generally) cut up, and this bleeds into the general atmosphere. That is of a kind of dry sweat, a dusty heat, and parching, with white to yellow heavily exposed areas (contrasted with the low-key lighting of the interiors). The finest performance in this is the at once petulant, but with a sharp radiance, of the female lead, Vera Clouzot. One of the problems we had of this film is how she effectively dissappers.
Our problem with the second half is that it all becomes a little standard, a little hoary. Except for a not particularly built up masculinity, it is difficult to find too much of a reason to care. It is too easy to sink in and frankly forget what went before. It seems to turn into just various set pieces, and, oddly considering how incredibly Clouzot built up tension in 'Les Diaboliques', suspense didn't seem to feature too heavily here.
Perhaps something was missed, perhaps we will engage more on examination of greater detail, emphasising and identifying with thw characters more, to be brought into the second half. For now, we were rather underwhelmed.
The Birth Of A Nation
1915 movie from D. W. Griffiths. Seen as perhaps the fist proper film, one of the most important, perhaps, as the first, the primary narrative film and epic. The touchstone, a masterful piece of work. Also completely vile.
The narrative cross-cutting is masterful. Even as this film is obviously 'only' laying the foundations, it balances its omniscient narrative stance great pace for each scene. It rythmically allows us not to forget any particular line. The film increasingly focusses on the Cameron film, as though to draw us in on to an increasingly personal view.
The detail of the mis-en-scene is also incredible. The interiors are at once simple, not distracting, but each element adds new interest. Think particularly of the 'ermine' dress; a beautiful touch, not entirely necessary, but without having to introduce anything extraneous deepens our understanding. This makes the film not at all drag; their is a wonderful momentun, due to all the factors, in the edit.
Then we have the content of the film. Griffiths attitude is absolutely mystifying; how can someone who is clearly aware that he is making this film (the intertitles), go ahead and make it so vile? Charicature, dreadful cop-outs, nearly worse than unmentioned racism, because it tries to make an argument.
This does severely effect it as a film. At first it is a curiousity; watch how this happens. But then it, frankly, become sickening, because one has to constantly resist the cavalcade of ugliness. It breeds an aggressive attitude towards the film, and certainly makes one want to turn off.
This precludes it from being a great work of art, as it effects the form in the exhibition. There are endless lessons here, and for that it is sensational. But, once lessons learned, the film is best forgotten.
The narrative cross-cutting is masterful. Even as this film is obviously 'only' laying the foundations, it balances its omniscient narrative stance great pace for each scene. It rythmically allows us not to forget any particular line. The film increasingly focusses on the Cameron film, as though to draw us in on to an increasingly personal view.
The detail of the mis-en-scene is also incredible. The interiors are at once simple, not distracting, but each element adds new interest. Think particularly of the 'ermine' dress; a beautiful touch, not entirely necessary, but without having to introduce anything extraneous deepens our understanding. This makes the film not at all drag; their is a wonderful momentun, due to all the factors, in the edit.
Then we have the content of the film. Griffiths attitude is absolutely mystifying; how can someone who is clearly aware that he is making this film (the intertitles), go ahead and make it so vile? Charicature, dreadful cop-outs, nearly worse than unmentioned racism, because it tries to make an argument.
This does severely effect it as a film. At first it is a curiousity; watch how this happens. But then it, frankly, become sickening, because one has to constantly resist the cavalcade of ugliness. It breeds an aggressive attitude towards the film, and certainly makes one want to turn off.
This precludes it from being a great work of art, as it effects the form in the exhibition. There are endless lessons here, and for that it is sensational. But, once lessons learned, the film is best forgotten.
Friday 3 December 2010
Eden
It's been quite a while since we've seen a real piece of crap, this isn't the nastiest thing ever, but it's pretty darn poor.
The camerawork is incredibly obvious, with banal shots flicking backward and forthward at lengths of no interest.
This is visually dull, with the same shots of Gregoire at the table, eating, bit of emotion close up, blah blah blah.
There are, added to this a few straightforward bad moves from scene to scene, some bad cuts that get the view of the scene all wrong. We are left hanging, the last one ended wrongly.
The acting and the relationships have a kind of crappy unnaturalism, the lead has too much make-up, it is almsot laughable how certain things just happen wierdly. The script is a mixture of actors explaining bits of the contrived story (one especially funny explanation in the park).
The acting is rather cardboard, unbelievable. It is simply of no interest. The relationship, along with the situations and th general plot structure, is cliched beyond redemption. Even the 'surprises' add little.
This isn't the worst film ever, we have been a little cruel perhaps, in certain ways it is not all that different from the kind of fare that generally packs into most French, Italian, and Spanish cinema. It plinks along, there's one good joke, and it wasn't, as a whole, particularly boring. Just not very good; even rather bad.
The camerawork is incredibly obvious, with banal shots flicking backward and forthward at lengths of no interest.
This is visually dull, with the same shots of Gregoire at the table, eating, bit of emotion close up, blah blah blah.
There are, added to this a few straightforward bad moves from scene to scene, some bad cuts that get the view of the scene all wrong. We are left hanging, the last one ended wrongly.
The acting and the relationships have a kind of crappy unnaturalism, the lead has too much make-up, it is almsot laughable how certain things just happen wierdly. The script is a mixture of actors explaining bits of the contrived story (one especially funny explanation in the park).
The acting is rather cardboard, unbelievable. It is simply of no interest. The relationship, along with the situations and th general plot structure, is cliched beyond redemption. Even the 'surprises' add little.
This isn't the worst film ever, we have been a little cruel perhaps, in certain ways it is not all that different from the kind of fare that generally packs into most French, Italian, and Spanish cinema. It plinks along, there's one good joke, and it wasn't, as a whole, particularly boring. Just not very good; even rather bad.
Lola
1981 movie, BRD3, from Fassbinder.
This movie is bright, colourful, gaudy, sickening lurid greens and reds that pour out of the screen, through the senses, in shaded areas. His mixes with the thematic gaudiness, but again more underneath that. A kind of grounding of artifice, entire appearance that suggests depths visible, but not communicable. It is our sense that prove inadequate, not the colour.
This is the most obviously related to old hollywood, particularly Sternberg's 'Blue Angel', and again plays with the themes.
The central characters are well played, fascinating. There is at time something Bunuel esque about their internal lives expressed through a kind of closed off, flatness, which is the product of their own over-reactions.
Fassbinder is a master of strong individual scenes, often with the addition of a central character adding an excess that determines the whole. Thus quite straightforward narratives are given an extra element, even as Fassbinder has quite a mainstream narrative flow.
This is the continuation of themes, dialectics of money represented through the stages that in this film in particular are all shown, chronologically.
Fassbinder has his usual tracking shots, mixtures of mid and wider with a few close ups, for a slightly flat style that every now and again finds us at an interesting view.
We have enjoyed Fassbinder's films. They haven't completely thrown our lives into chaos with their brilliance, being formally quite simple and fast, but there are layers and great cinema references that really let meanings conjeal. We look forward to seeing more of his (large) oeuvre.
This movie is bright, colourful, gaudy, sickening lurid greens and reds that pour out of the screen, through the senses, in shaded areas. His mixes with the thematic gaudiness, but again more underneath that. A kind of grounding of artifice, entire appearance that suggests depths visible, but not communicable. It is our sense that prove inadequate, not the colour.
This is the most obviously related to old hollywood, particularly Sternberg's 'Blue Angel', and again plays with the themes.
The central characters are well played, fascinating. There is at time something Bunuel esque about their internal lives expressed through a kind of closed off, flatness, which is the product of their own over-reactions.
Fassbinder is a master of strong individual scenes, often with the addition of a central character adding an excess that determines the whole. Thus quite straightforward narratives are given an extra element, even as Fassbinder has quite a mainstream narrative flow.
This is the continuation of themes, dialectics of money represented through the stages that in this film in particular are all shown, chronologically.
Fassbinder has his usual tracking shots, mixtures of mid and wider with a few close ups, for a slightly flat style that every now and again finds us at an interesting view.
We have enjoyed Fassbinder's films. They haven't completely thrown our lives into chaos with their brilliance, being formally quite simple and fast, but there are layers and great cinema references that really let meanings conjeal. We look forward to seeing more of his (large) oeuvre.
Veronika Voss
1982, chronologically last but second entry in the BRD trilogy from Rainer Werner Fassbinder. The black and white shots are well concieved. They use sharp, sharp contrasts, giving a two-dimensional artificiality to the use of depth. It is the most accurate use of the old Hollywood aethetic we have seen. The film is over and under exposed; deep unconstrasted blacks and overexposed whites. Again, old hollywood.
The plot is similar, with the relation to hollywood meoldrama in the acting style, and directly referenced. It has all the best aspects of that tradition; the unreal formalism is taken out of its rather worrying ideological context, at the time, and made into a pure aesthetic here.
As in 'Maria Braun', we again have a fractured narrative, the centre of the movie dances from the reporter to Veronika and back again. It creates an uneasiness, but is needed so we have a entrire reworking, not just an update, of its precursors.
This film operates at the crossroads of noir, melodrama,and the European art film. It has the dark, idea of internal chaos, with the extreme acting of the glycoreine tears. Yet all through the Fassbinder perspective; an intelligent filmmaker who again offers up more layers. He is a filmmaker to be watched in conjunction with the history of cinema; his spin-offs are of the best kind.
The plot is similar, with the relation to hollywood meoldrama in the acting style, and directly referenced. It has all the best aspects of that tradition; the unreal formalism is taken out of its rather worrying ideological context, at the time, and made into a pure aesthetic here.
As in 'Maria Braun', we again have a fractured narrative, the centre of the movie dances from the reporter to Veronika and back again. It creates an uneasiness, but is needed so we have a entrire reworking, not just an update, of its precursors.
This film operates at the crossroads of noir, melodrama,and the European art film. It has the dark, idea of internal chaos, with the extreme acting of the glycoreine tears. Yet all through the Fassbinder perspective; an intelligent filmmaker who again offers up more layers. He is a filmmaker to be watched in conjunction with the history of cinema; his spin-offs are of the best kind.
The Marriage Of Maria Braun
First film of the loosely collected BRD strand (three films) from Rainer Werner Fassbinder, this was 1979. All related for Germany's post-war 'miracle', the moral compromises, how the political is the personal.
Warm colours are used by Fassbinder, the suggestion that they are washed out is true to an extent but shouldn't be overdone. This is a 70's film, full of that era's simplistic spaces in its use of film stock that gives a certain bright blankness.
The use of music and the radio to obscure sound is interesting here, as though the changing world and the industrial clangs are overwhelming the attempt at communication.
This is further emphasised in the obscuring camera uses, where we can at times fail to see the front of faces or what wethe singified of the story is. This works with the long dolly shots that track across distances, not quite voyeuristically but in a manner of a frind, rather than direct indentification. This non-direct identification is mirrored in the story, where we have a variety of different strands. Maria is the centre but the camera and scenes don't always follow her. The woman as the centre of the piece is good early feminist cinema, though as more of a symbol than a character, it can seem so at times. The again, most of them are.
The content at its most obvious is quite clear; high capitalism effecting personal relations, driving to mania, combined with psychonanalytic fetishes that have an object which, at the last analysis, they don't really want.
There are some sensational constructions and individual scenes in this film. When the husband returns, nearly every scene with the G.I., has a slightly uneasy, wondrous transcendental sense. As a whole, there's a lot here, but also the sense that there may be even more than the sum of its (impressive) parts. Fassbinder, for all his impressive shots, is also playing hide and seek to an extent here.
An impressive film, not too far from the mainstream, with the suggestion of more.
Warm colours are used by Fassbinder, the suggestion that they are washed out is true to an extent but shouldn't be overdone. This is a 70's film, full of that era's simplistic spaces in its use of film stock that gives a certain bright blankness.
The use of music and the radio to obscure sound is interesting here, as though the changing world and the industrial clangs are overwhelming the attempt at communication.
This is further emphasised in the obscuring camera uses, where we can at times fail to see the front of faces or what wethe singified of the story is. This works with the long dolly shots that track across distances, not quite voyeuristically but in a manner of a frind, rather than direct indentification. This non-direct identification is mirrored in the story, where we have a variety of different strands. Maria is the centre but the camera and scenes don't always follow her. The woman as the centre of the piece is good early feminist cinema, though as more of a symbol than a character, it can seem so at times. The again, most of them are.
The content at its most obvious is quite clear; high capitalism effecting personal relations, driving to mania, combined with psychonanalytic fetishes that have an object which, at the last analysis, they don't really want.
There are some sensational constructions and individual scenes in this film. When the husband returns, nearly every scene with the G.I., has a slightly uneasy, wondrous transcendental sense. As a whole, there's a lot here, but also the sense that there may be even more than the sum of its (impressive) parts. Fassbinder, for all his impressive shots, is also playing hide and seek to an extent here.
An impressive film, not too far from the mainstream, with the suggestion of more.
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