Vik Five.

Incendies (8.6/10)

2012-01-21T12:59:00.000-08:00

Denis Villeneuve, 2010.
The film is a rare masterpiece of Canadian cinema. Based on a play by Wajdi Mouawad, about how we can never escape our past and eventually have to account for our actions regardless of how far we try to distance ourselves. At the final bequest of their late mother Nawal, Jeanne and Simon Marwan must deliver two sealed envelopes to their unknown father and brother. Simon dismisses the request as crazy, but Jeanne decides to travel to their mother’s place of birth to find out more about her. There she learns that her Mother was once a beautiful and bright student activist, who transformed into a radical revolutionary, terrorist, and infamous political prisoner before coming to Canada. In parallel with Jeanne’s search, the story recounts Nawal’s life and tells how her family forced her to give up her child for adoption. In desperation, she decides to find her son, taking her through the heart of a religious civil war. The violence she witnesses drives her to join the revolutionaries, who entrust her to assassinate a high profile political leader. After the murder, she spends the next 13 years in a high security prison. Learning about her mother’s past, Jeanne persuades her previously skeptical twin brother to join her quest. Together, and with help from their Lawyer, they delve deeper into the past uncovering dark secrets about their lost brother and mother. Eventually they learn the disturbing truth about their family and in a bizarre twist of fate the final piece of the puzzle brings them back to Montreal.

The film is distinctively Canadian, characteristically Québécois, in the sense that it mixes English (Hollywood) and French (European) influences, a common theme in the country’s history and culture. It combines a high degree of intelligent content common to many French films with a cohesive and entertaining structure found in many American films. As a broad generalization, the latter is primarily entertainment driven, which they do very well, and content is secondary. While in Europe, it seems that the reverse is true. Films that rely too much on the content often lack any entertainment merit, verging on pretentiousness and becoming a bad cliché. Watching a dialogue centering on some philosophical abstraction can be interesting intellectually, but is likely not very entertaining. Entertainment value is extremely important to film. It is what keeps the audience engaged. It makes films fun to watch. It is what generates millions of dollars in revenue and keeps the industry running. Conversely, many films that are extremely entertaining, lack substance. The viewer quickly forgets about the film. It does little to expand their conscience, raise questions, or promote discussion. Very few directors can successfully balance both sides, especially when trying to make an economically viable project.
‘Incendies’ is one of the rare examples that get the balance right, resulting in an amazing film. It exudes intelligence, taking a stance on the perversity of ideologies, recanting a modern interpretation of a famous Greek tragedy, and exploring the geopolitical climate of the Middle East, all while being incredibly entertaining. It is interesting that all the towns and countries in the story are fictional. Although, the film hints that it takes place in Lebanon at the start of the civil war. The story is applicable to anyone of the countless countries in Central or Southwest Asia that plagued by sectarian conflict over the past fifty years. By not pegging the film to a specific place or event in history, it makes a broader philosophical statement about the dangers of ideologies and continued senseless violence associated with them.

Speaking to the entertainment merit of the film, at no point in the story is the viewer ever disengaged or disinterested. The discomforting nature of the subject matter coupled with the disturbing images from the civil war keeps the audience captivated and eyes glued to the screen. Besides the content, the scenes constantly jump between suburban Montreal, rural Lebanon, and various other unnamed locations throughout the Middle East, recanting moments from the mother’s past and the children’s present. This sensory juxtaposition of revolving landscapes at different points in time helps further engage the audience and create a well-paced narrative. The director also uses music, notably Radio Head’s song ‘You and Whose Army?’, to help build tension at key moments throughout the film. The melodramatic song progressively builds to a breaking point that fits the emotion of the film perfectly. It is undoubtedly one of the best pairing of popular music and cinema, although the song would work well in almost any film. These elements, the combination of intelligent content, spectacle and entertainment, are what make ‘Incendies’ such an incredible and arguably the best Canadian film ever made.

The Wild One (7.2/10)

2012-01-15T11:21:00.000-08:00

László Benedek, 1953.
The film is an icon of popular culture. Johnny Strabler (Marlon Brando) is the leader of the Black Rebel Motorcycle Club (BRMC), an outlaw biker gang. When one of their members is hurt in an accident riding through a sleepy California town, the gang decides to stay until he heals. Immediately, they start intimidating the town’s inhabitants and usurp the local bar as their head quarters. In a typical Hollywood fashion, Johnny starts to fall for Kathie (Mary Murphy) the girl who works at the café adjoining the bar. Unable to resist his rebel charm they become a couple, in the platonic 1950’s sense of the word. Meanwhile, the Beetles, a rival gang led by Chino (Lee Marvin) rides into town. While there is tension at first over a previous spat, resulting in Johnny knocking Chino off his bike. The two groups, not withstanding some palpable animosity, seem to get along and band together after the police arrest Chino for disturbing the peace. Soon the films focus shifts to the local residents who growing tired of the disorder and frustrated with the flaccidity of the local police turn to vigilantism. Finding Johnny alone one night, they intend to kill him. In the pursuing chase, Johnny loses control of his motorcycle and unintentionally hits an elderly bystander. Now facing a murder charge, it is up to Kathie to prove his innocence.

From a popular culture perspective, the films significance is undeniable. Black leather jackets, dark washed jeans, and motorcycles are still symbolic icons of ‘cool’. There is even a rumor that ‘The Beetles’, the most popular music group of the century are named after the rival gang and a popular modern American blues rock band credit their namesake to the film. From a cinematic perspective, there is not much to the film. The plot is timid and predictable. The acting, with the minor exception of Brando and Marvin, is lukewarm. However, the subtle cultural differences are what make the film interesting. For example, the BRMC all love listening to jazz, which is interesting because It is difficult to associate jazz with motorcycle gangs. Stereotypically one thinks of outlaw bikers listening to heavy metal or similar high intensity music coupled with violent lyrics. Conversely, jazz is associated with a high level of musical erudition, requiring a refined ear to understand the order and complexity behind the chaos. However, at that time there was no Rock and Roll. Elvis Presley only walked in to Sun Studios to record his first single in August of that year (1953). There was only the blues, which although would later evolve into rock, lacked the energy essential to fuel teenage angst. Conversely, Jazz had the required intensity and tempo to match the teenage libido. It was unruly and unpredictable, essentially a perfect soundtrack for misguided and rebellious youth. The resulting images of rowdy outlaw bikers wearing black leather jackets drinking beer and dancing to avant-garde jazz make the film so unique and interesting to watch. Besides the music, being able to understand the countless cultural references associated with the film, make it worthwhile to watch.

Bad Day at Black Rock 7.5/10

2012-01-09T17:36:00.000-08:00

John Sturges, 1955.
The film is an interesting hybrid film noir about a stranger who comes to a lawless frontier town to discover a dark secret among the locals. It starts with the protagonist, John Macreedy (Spencer Tracey) a one armed veteran dressed in a black suit, getting off a train in a small sleepy town somewhere in the southern USA. His intentions are unknown, and immediately the locals become suspicious. Curiosity quickly turns to xenophobia, and the locals make it clear that he is not welcome. It becomes evident that Macreedy is looking for a man named Komoko, a Japanese American farmer who moved there just before Pearl Harbor. According to the locals, the government sent Komoko to an internment camp and never returned. Eventually Macgreedy discovers that the town’s men murdered Komoko in a ploy fuelled by patriotic hysteria at the onset of the war to steal his land. Given that essentially the entire town in involved with the murder, they intend to keep it a secret by killing the nosey one armed man. Being vastly outnumbered, Macgreedy's only option is to play on the conscious of the locals to enlist their assistance in helping him escape. Adding to the suspense of the plot, is that he has to fight off his assailants with only one arm adding a creative and fun twist to the film.

What is interesting about the film is that it has common elements from both western and film noir genre. Sturges obviously borrowed the suspense, plot, and style of the film from the latter. The black suit, the dark secret, the unresolved murder, the fedora are all classic elements of the stylish crime dramas. This classic uniform is in contrast against the clear blue desert sky and dusty pale hues the town throughout the film constantly reminding the viewer of the genres’ influence. However, there are many elements from the Wild West mixed in, which is not surprising given the directors history of westerns (Gunfight at the O.K. Corral, The Magnificent Seven). Symbols characteristic to the genre, including a drunken powerless sheriff and a local strong man who decides what is right and wrong are present in the film. That is the whole point of Westerns, that they are primitive. These societies do not define morality by laws or creed but by whoever is quickest with the gun. One cannot depend on the government to always protect and coddle them. They have to fend for themselves, by any means necessary. It is very American. It is why John Wayne is such a potent and everlasting symbol of American culture. This combination of the two greatest genres in American Cinema make the film such a great classic to watch.

Sunset Boulevard (8.3/10)

2011-12-18T10:22:00.000-08:00

Billy Wilder, 1950

The Hollywood classic is a fantastic physiological film noir that explores the twisted ego filled and delusional lives of movie stars. Joe Gillis (William Holden) the films protagonist is an unsuccessful screenwriter on the run from debt collectors. Looking for a place to hide his car, he comes across a seemingly abandoned old mansion. It turns out that the house belongs to Norma Desmond (Gloria Swanson), a once famous silent movie star from a bygone era in Hollywood. Hearing of Joe’s money problems, Norma offers him a job editing her script, which he grudgingly accepts to help pay off his debts. It is not long until Norma takes a romantic liking to Joe, and immerses him in the weird and sad world of Hollywood’s elite. A world of excessive ego worship, complete with an endless supply of champagne and bizarre rituals such as extravagant funerals for deceased pet chimpanzees. Unfortunately for Norma, the attraction is one sided and becomes evident that Joe is only in the relationship for the materialistic gains. While Norma prepares for her comeback to the Hollywood stage, the situation increasingly becomes suffocating for Joe. As he begins to drift away, Norma becomes more desperate and delusional to point of madness.

The story is typical of celebrities. Who on the surface, seem to have everything anyone could ever want. However, in reality many of them lead tortured lives, suffering from a gambit of mental health and addiction issues. Often causing them to lash out or act peculiarly, get involved with strange cults, steal things simply for the sake of stealing, or overdose with drugs. Often the larger the celebrity the more tragic the consequences are, look at Michael Jackson for example. This makes sense, because from a young age these people are completely detached from reality, sheltered behind mountains of money, and worshiped by legions of fans. When their time in the spotlight is up, it can be difficult for their ego to cope and subsequently causes great anguish. Wilder captures this pain, and in doing so makes Norma human again, into someone that we cannot only relate to, but can pity. It is timeless story, applicable to anyone famous, in any culture, anywhere in the world. However, what really makes the film truly interesting to watch is the weird and wonderful world Wilder creates on screen. It gives the viewer a glimpse into the super decadent and sordid reality of the super rich, which while fictional is remarkably believable. It is a world that is ‘fellini-esque’, and is every bit as depraved and extravagant as ‘La Dolce Vita’, only a decade earlier.

Lilja-4-Ever (7.4/10)

2011-12-10T11:49:00.000-08:00

Lukas Moodysson, 2002
Lilja-4-Ever is a tragic and gut wrenching film that leaves the viewer troubled long after the credits finish. The film is an adaptation of an actual incident in 2000 involving a teenager from Lithuania that shocked Swedish society and received extensive media coverage. Lilja (Oksana Akinshina) is a 16-year-old living in a dilapidated Soviet era residential suburb with plans of immigrating to the United States with her mother. When her mother abandons her right before they are about to leave, she is forced to live with her Aunt. Who not concerned about her nieces well being, moves her into a filthy rundown apartment to live alone. Lilja spends her days hanging out and getting high with Volodja, a 13-year-old run away from an abusive home. With no other options and at the recommendation of her aunt, Lilja eventually resorts to prostitution for survival. She takes small comfort in the fact that it lets her buy luxury goods such as fruit juice, potato chips, and a small gift for Volodja. While working one night at the club, she meets Andrej a ‘nice guy’ who is not just interested in sex but who really wants to get to know her. He promises her a better life in Sweden with a good paying job, and gets her a passport and a plane ticket. At the last second, Andrej claims he has to visit his poor sick grandmother and promises to meet Lilja in Sweden. In reality, there is no lucrative cleaning job waiting for her, Andrej has sold her to a pimp in Sweden. Who locks her in a dirty apartment during the day, and sells her for sex at night, but is kind enough to buy her a McDonald’s value meal between clients.

Films like Lilja-4-Ever are difficult to write about because of the severe nature of the subject matter. How can someone recommend a film about child sexual exploitation, where teenagers sniff glue and commit suicide on screen, because they thought the film’s narrative was well done or the sound track was interesting? Ultimately, one must judge the film within its context to determine if the content is justified. They must determine whether the director successfully matched the brutality of the images and story with the seriousness of the subject matter. If it is unbalanced in either direction, the film is an epic failure, especially when handling extremely controversial topics. While it is true, that the director could have had much of the truly disturbing scenes take place take place off camera and retain the potent message of the film. The fact is that humans have become so desensitized to disturbing images that artists need to resort to new depths of depravity to get our attention. Moodysson does this very well, almost too well. The scenes in the film get progressively more brutal to the inevitable conclusion, bringing out so many raw emotions in the audience that range from hate to compassion and are impossible to ignore. Maybe that is why we like films like this, or at least like them enough to warrant their creation, because we find them cathartic. Maybe seeing how fucked up someone else’s life is or can be, makes us feel better about our own relatively minor problems and the social context is just an excuse to evade censorship. Regardless, the way Moodysson creates a universe that is completely tragic and utterly devoid of any hope to bring attention to a real and grave injustice speaks to the power of cinema.

The Great Silence (9/10)

2011-12-03T07:52:00.000-08:00

Sergio Corbucci, 1968
The film is an interesting and ironic reflection on morality and law, set among a picturesque background and involving a cast of eccentric characters. It is the ‘Empire Strikes Back’ of spaghetti westerns. At face value, the film is similar to most films in its genre. Everything from the plot, which involves outlaws chasing their prey through a lawless and expansive countryside, to the Ennio Morricone score and final show down are typical. What distinguishes the film is Klaus Kinski’s performance as Loco, a morally deprived and dishonest bounty hunter on a mission to capture a group of outlaws hiding in the mountains to collect the reward. Since, Loco can collect the reward regardless if he brings the fugitives in dead or alive, he prefers the former, provoking them into threatening him and claiming self-defense. After he kills a woman’s husband, she hires Silence, a mute gunslinger with a high tech pistol to extract revenge. The two chase each other through the Italian Alps, guised as the Rocky Mountains, and eventually meet in a final confrontation that ends with a distinctive ‘Corbuccian’ twist. Interesting to note the director also made an alternative happy conclusion for North American audiences, where everything works out perfectly for the hero and everyone lives happily ever after.
Like most Westerns, from Sergio Leone to Howard Hawks, John Wayne to Clint Eastwood, the Great Silence portrays a type of moral ambiguity, in where the good guys aren’t really good. The protagonists are often the same bounty hunters, killers, drunks, and mercenaries as the antagonists. However, at the end of day the former are a little less sociopathic, a little more compassionate, and much more human than the latter. This is what makes the genre, inclusive of spaghetti westerns, so ‘American’.

It can be difficult to take Kinski seriously, given his outlandish ‘I am the new Jesus’ performances and legendary escapades with Werner Herzog. However, before all that, he made his name in Italian Westerns, and ‘The Great Silence’ is unquestionably the best performance of his career. His detached deadpan seriousness and eccentricities are reminiscent of a super cool mix between Dennis Hopper and Jean-Pierre Léaud. Corbucci’s distinctive styling and the genius of Klaus Kinski truly distinguish the film, making it one of, if not the, best in the genre.

Malcolm X (7.3/10)

2011-11-26T08:17:00.000-08:00

Spike Lee, 1992
The film is an excellent introduction to one of the most interesting and influential characters of the century. The biopic starts with Malcolm Little (Denzel Washington) hustling and committing petty crimes in Boston, leading to his incarceration and evidential conversion to the Nation of Islam (NOI), where he takes the name Malcolm X. At this point Malcolm meets Elijah Muhammad (Al Freeman Jr.), who appoints him an assistant minister in Chicago, and soon after a minister of a Mosque in Harlem. This relationship between Elijah Muhammad and Malcolm X is extremely interesting, and is what makes the film worth talking about. Granted, for a Hollywood blockbuster, the film is quite good overall, especially the acting. Both Denzel and Al are incredible in their respective roles, but the later steals the show. His subtle calm movements, drawn out voice and gentle demeanor share an uncanny resemblance to the real Elijah, and are a refreshing contrast to Denzel’s energetic and powerful screen presence. The performance won Freeman the 1995 NAACP image award for Outstanding Supporting Actor, and should have won him an academy award. Why the academy nominated Denzel for best actor but not Freedman for best supporting, speaks to the vapidity and irrelevance of the institution.

Elijah Muhammad is equally worthy of having a three hour epic film made about his life. His controversial past, and shadowy relationship with Wallace D. Fard the founder of the NOI, could fill up a hundred screenplays. Spike Lee does not mention Fard in the film and the only reference to him is a self-portrait prominently featured in Elijah Muhammad’s study, which is the only known image of the prophet. This is unfortunate because he is without doubt the most interesting person the nation’s history. With a life truly stranger than fiction, that includes a dubious ancestry, esoteric teachings, involvement in a bizarre ritual murder, and abrupt disappearance after leading the NOI for only three years. Lee could have developed this brief relationship between Fard and Elijah into a very interesting and controversial subplot that would have added to the films mystique. Maybe the director felt it would be too much of a tangent or too distracting from the main point of the film. Malcolm X is typical of Spike Lee’s films, while they are extremely well done, interesting, and intelligent they always follow the typical Hollywood narrative with the same predicable and linear structure.

Wages of Fear (8.25/10)

2011-11-20T10:15:00.000-08:00

Henri-Georges Clouzot, 1953
In ‘Wages of Fear’ (8.25), Henri-Georges Clouzot masterfully creates an atmosphere of tension and suspense that keeps the viewer pleasantly engaged throughout the film, but without the anxiety of trashy Hollywood horror film. The story is about an oil company in South Africa that in a panic needs to transport nitro glycerin across rugged terrain. They offer residents in a sleepy economically impoverished town a large sum of money to drive two trucks full of the substance to a remote drilling site. The caveat is that the slightest disturbance to the nitro glycerin could cause the trucks to explode, which given the dilapidated condition of the rural roads is a likely outcome. From the very second the driver’s start their journey, the viewer is half expecting the trucks to blow up at any second, creating a sense of suspense that carries throughout the entire film.

Early in the expedition, conflict quickly arises between the four drivers. With the brunt of the hostility directed towards the eldest member of the group, whose bark is evidently much louder than his bite and in reality is a coward. Regardless, the drivers must work together in overcoming obstacles along the way. What makes the film so successful is the way Clouzot pays attention to the subtle details in order to create a foreboding sense of fear. Having the eldest driver too scared to let go of the steering wheel for even a split second to take a sip of coffee or a puff from a cigarette, or using close ups to show the sweat on their brows or the treads of the tires as they go over potholes in the road are examples of this. Even though the story line is relatively uninteresting, at no point in the film is the viewer ever board, which is a testament to the director’s skill. As a bonus, the film has a very clever ending that ties everything together in a dark and ironic way that only like a master like Clouzot can.

Steve James

2011-11-18T16:39:00.000-08:00

What distinguishes Steve James’ documentaries is the exceptional character development and evolution witnessed in his films. Hoop Dreams (7.5), documents the journey of two promising basketball ball players from South Chicago over the course of five years through high school, ending with both of them starting college. At the beginning of the film the only thing matters to the boys is making it to the NBA, but as they grow up their priorities change as their lives unfold and they become victims of circumstance and chance. Slowly, the game becomes less and less important to them, changing from an all-pervasive way of life, to simply a means to an end. Seeing this evolution first hand on film, and watching the two boys become men in the span of two and half hours, is incredibly engaging; even if you don’t really like the sport. Because it is real, this character development is so natural and fluid, making the film very enjoyable to watch.

His latest film The Interrupters (7.75), also takes place in South Chicago and focuses on personal evolution as a major theme. It is about a group of ex-gang members who patrol the streets, putting their lives at risk on a daily basis to pacify confrontations. The camera documents their encounters, as they intervene in fresh conflicts and follow up on people from previous episodes. It is amazing to watch how these volunteers, simply by taking someone aside and letting them cool down for a couple minutes can save lives. One exceptional case, where a man, leaving his house gun in hand with intention of extracting revenge on a rival gang, grudgingly accepts an invitation from one of the volunteers to lunch. After putting away his weapon, he cools down over fast food, and begins a relationship that eventually saves his life. At the end of the film, we see him gainfully employed, extremely grateful for the program and acknowledging it for saving his life. Capturing these precious seconds where people make life and death decisions on film, makes for incredibly powerful and engaging cinema. Akin to ‘Hoop Dreams’, the film has fluidity and realism that no director could ever recreate with professional actors in a studio, not even Ozu! This is what makes James such an exceptional documentary filmmaker and truly raises the genre to new heights.

The Atoine Doinel Cycle (Overall 7.7/10)

2008-06-13T10:00:00.000-07:00

Francois Truffaut (1959-1979).
Initially I was hesitant about watching Truffaut’s Doinel Cycle. Assuming that with the exception of The 400 Blows, the films were essentially exceptionally well done ‘romantic comedies’; which in general are uninteresting. To say the least, I was pleasantly surprised. What separates and makes them so remarkable is the character of Antoine Doinel, the combined alter ego of Francois Truffaut and Jean-Pierre Leaud. Who is easily one of the most interesting fictional personalities ever captured on film; described as an extremely intelligent and wildly eccentric social anarchist.

For Doinel’s introduction, Truffaut paints a stark Neo Realism inspired portrait of a 12 year old street wise adolescent in The 400 Blows (8.6/10). Neglected by his family he resorts to skipping school and general mischief on the streets of Paris, eventually being sent to a youth detention center which he later escapes from. The story lays the foundations of deep emotional and abandonment issues, which later arise as the underlying causes for the amusing romantic misadventures in his adult life.

The next three installments in the series are drastically different then the first. While The 400 Blows was a sober social commentary on the rehabilitation of troubled youth, Love at Twenty (short/NA), Stolen Kisses (7.4/10), and Bed and Board (7.2/10) were little more then slick ‘feel good’ comedies intended for a mass audience, albeit definitely entertaining. The films document the various stages in Doinel’s adult life; starting with his dishonorable discharge from the French Army, through his various eclectic jobs, love affairs, countless casual encounters with prostitutes, distain for married life, extramarital affairs, divorce, and reflections on fatherhood.

The final chapter in the cycle, Love on The Run (7.6/10) is essentially a summary of Doinel’s life as he recounts his adventures in life and love through his newly published semiautobiographical book. By interlacing clips from the previous films, Truffaut paints a colorful overall picture of the protagonist’s personality set to the backdrop of catchy French pop tunes. In my opinion it is one of the two must see films in the Doinel cycle along with The 400 Blows, conversely it was Truffaut’s least favorite.

As expected Truffaut is stylistically perfect. The films maintain a perfect pace; striking a delicate balance between having enough momentum to keep the viewer interested in the story, while being careful not to be abrasive. Further, he obtains a perfect equilibrium between; action/inaction, inside/outside, passive/aggressive, private/public, complex/simple, intellect/emotion. The end result is that the films have an overwhelming effortless fluid quality to them. Truffaut makes it look easy, akin to Michael Jordan playing basketball or Picasso painting.

YI YI (7.9/10)

2008-05-28T07:54:00.000-07:00

Edward Yang, 2000.
The story chronicles a year in the life of an upper middle class family living in contemporary Taiwan, beginning with a wedding and ending with a funeral. Each of the family members have their own distinct subplots; ranging from the innocent misadventures of a youth exploring the world, to the pangs of adolescence, to the difficulty of realizing ones place in the world, and the reflections on a life lived. The remarkable thing is that while each story has its own progression, character development, climax, and resolution it fits in with perfect harmony to the overall dynamic of the story. In essence it is akin to watching numerous short films within the framework of a larger picture; Yang does this exceptionally well.

Yi Yi is easily one of the best films I have seen in the past six months. However, for the death of me I could not think of anything insightful to say about it. Recently I realized that while amazingly well done, it is not the least bit interesting; the family leads a relatively vapid existence, granted they have their moments but overall their story is definitely not extraordinary by any means. The film is successful because the average viewer can relate to it. While only a select few can recall the bittersweet experience of discovering a severed human ear in a field, everyone can relate to the joys of affirming life and the sorrows of death, to the idiosyncrasies of family and friends. This ability to connect to the characters on a personal level makes the film extremely enjoyable to watch, and is the same reason why Homer, Marge, Lisa, Bart and Maggie Simpson are icons of global popular culture.

La Chinoise (7.1/10)

2008-05-23T10:06:00.000-07:00

Jean-Luc Godard, 1967.
La Chinoise is commonly referred to as Godard’s most political film, and for that reason I believe it is not as highly regarded as the others. It is based around the philosophical and ideological discussions between five students living in a Paris apartment. Together they form a radical Maoist group and conspire to commit acts of terrorism with the intention of inciting a revolution. The story is loosely based on Dostoyevsky’s novel The Devils, which follows a group of revolutionaries in Imperial Russia. The name Kirillov given to one of the students in the film is an obvious homage to Fyodor Mikhailovich.

The group believed that Mao was the only true vanguard of socialism, actively fighting American Imperialism in South East Asia. Hence they were Maoists, not Marxists or Communists. Although Godard was interested in Maoism at the time, the film does not promote the ideology nor glorify terrorism. Rather I believe he uses the students to parody the intentions of student activism and illustrate its inherent flaws. The dialogue with Francis Jeanson a prominent professor and activist, who was arrested in 1960 for supporting Algerian terrorist groups, further reduces the group’s revolutionary ideas to nothing more then dangerous and foolish pedantic abstractions destined for failure. In the end their revolution is summarized as little more then the murder of the wrong person and the inevitable breakup of the group.

Godard employs easily decipherable symbolism with bold contrasting colors to create a rich visual aesthetic. However, the power of the film is not in the cinematography or plot but in the ideas, in the lively discussions between characters. The actors eccentric personalities help lighten up the cerebral dialogue. They included familiar faces of French Cinema such as Anne Wiazemsky who was Godard’s wife at the time and the official badass of the new wave, Jean-Pierre Leaud. Ultimately, La Chinoise stands better as an entertaining intellectual discourse then a serious film.

What is it? (6.8/10)

2008-05-15T06:05:00.000-07:00

Crispin Glover, 2005.
From what I gather the film is about the conflict between different states of consciousness with in the Protagonist’s psyche, a character with Down syndrome and a passion for murdering snails. The project entirely financed by Glover lacks any lavish extravagances and has a prevailing ‘low budget’ feel to it. The ultimate result is a very interesting film with an exceptionally well done soundtrack; including Wagner’s Tannhauser overture and the Clock Work Orange theme.

According to Glover who was very sincere in his talk after the screening, the film was meant to be a reflection of his personal distaste with the mechanisms of censorship present within the current corporate Hollywood system. His intention was to make the viewer as uncomfortable as possible. Forcing them to question the images on the screen and the intentions of the director, rather then leaving the theatre in a complacent stupefied haze. He does this very well by exploiting every cultural taboo he can think of ranging from sex and racism, to fascism. I have an inclination that Glover’s explanation was a rehearsed boiler plate response, amid audience questions and comments such as, “Why are you trying to copy David Lynch? Why is your film so weird? You are nothing more then a misanthrope with more money then me!”

It would have been interesting to ask him if the images exist purely as a manifestation of his anger with corporate censorship, or are they a fulfillment of an innate human desire to look at what is forbidden. Does his aesthetic simply arise from the underlying beauty in the taboo, in the disgusting? Is this is why artists constantly strive to exploit the most disturbing images imaginable in their work? If so, is any other rationalization for films like this little more then intellectual abstraction?

Tokyo Story (8.7/10)

2008-03-31T15:24:00.000-07:00

Yasujiro Ozu, 1953.
What is interesting about Ozu is that he never married nor had any children. Yet the majority of his films deal with complicated family relationships set among the backdrop of the moral and social upheaval in post war Japan. His stories explore prevalent themes in Japanese society at the time. Primarily the paradox of doing what is beneficial for the family at expense of ones own happiness and personal freedom. This is why the notion of arranged marriages is such a common topic in many of his films including Tokyo Story, along with the burden of having to deal with ones elderly parents at expense of the ones livelihood.

In reality Ozu was a heavy drinker who ran his film sets in a strict totalitarian fashion. I assume that the ideal family he created in his films is a substitute for his lack of one in reality. This notion of the director living vicariously through his films is fascinating, and adds another layer of interpretation to the film. The complexity of Ozu’s imaginary family juxtaposed with the simple story is what makes Tokyo Story a phenomenal film.

Aesthetically Ozu’s films are perfect. Every shot is simple yet perfectly balanced. He had his custom-made tripod fabricated to ensure that every shot is eye level with a person sitting on the ground, creating a very intimate atmosphere. My only criticism is that too much of the film takes place within cramped indoor spaces, giving the film an almost claustrophobic quality. I attribute this to the fact that interior shots are easier to control with less variables to contend with (weather, public, quality of natural light, background noise, etc), and that the home is where the majority of family interaction takes place.

If I ever decide to make a film, the first thing I would do is intently study Ozu. Not just simply watching his films, but becoming obsessed with them, watching them repeatedly, reading and rereading every essay written about him. I would not even attempt to make a film until his aesthetic was deeply ingrained in my consciousness to the point of being brainwashed. I think the above would be prudent advice to any new filmmaker, as well as the majority of established ones. It is not surprising that Ozu has inspired and influenced directors such as Jim Jarmusch, Abbas Kiarostami, and Wim Wenders among countless others.

Note: Wenders film Tokyo Ga (6.8/10) is a very good and entertaining introduction to the works of Yasujiro Ozu. The Criterion Edition of Tokyo Story includes it as a supplement and I strongly recommend watching it before the feature (not to mention it has amusing cameos by Werner Herzog and Chris Marker).

American Friend (6.5/10)

2008-03-30T17:36:00.000-07:00

Wim Wenders (1977)
The combination of Wim Wenders, Bruno Ganz, and Dennis Hopper is at least a promising recipe for a great film, but ultimately falls short. Not surprisingly, Dennis Hopper is impressive as a sociopath art dealer who specializes in selling counterfeit paintings and Wenders style is on point, but the storey is weak bringing down the overall quality of the film. I also found Wenders aesthetic although beautiful, to be somewhat contrived and unnatural giving the film a slightly pretentious quality. The cinematography was not nearly as refined as his later films such as Paris Texas (8.0/10) or Wings of Desire (7.6/10). I suspect that American Friend was a film that allowed Wenders to build and develop his aesthetic which he ultimately perfects in the masterpieces mentioned above.

His madness is truly believable.

Hoppers performance was strong, because like always his insanity is believable. Playing his quintessential trademarked character of morally inept psychopath, one can not tell if he is acting or simply being himself; the best actor is the one who does not act. His madness, albeit not as believable as in Blue Velvet (8.3/10) or Apocalypse Now (8.6/10), is the only viable reason to watch the film.

Under the Volcano (7.3/10)

2008-03-30T17:32:00.000-07:00

John Huston (1984)
Based on the novel by Malcolm Lowry it is very similar to Conrad’s Heart of Darkness; in the sense that it chronicles the classic cliché story of one mans decent into darkest realms of human existence. The protagonist being a former British diplomat living in a small Mexican Town is a superlatively educated, well spoken gentleman with a severe drinking problem. His strong character combined with the vibrantly colorful day of the dead visuals (skulls, flowers, devils, etc) give the film a great style, which is evident in the opening scenes of him walking through the streets of Quauhanhauc inebriated wearing a tuxedo and sunglasses. I recommend seeing the film if only for the amazing traditional Mexican cult of the dead images and intelligently insightful dialogue; “How unless you drink as I do, can hope to understand the beauty of an old Indian Women playing dominoes with a chicken?”

In a Year of 13 Moons (8.5/10)

2007-09-17T16:19:00.000-07:00

Rainer Werner Fassbinder, 1978.
The story follows the last days of Elvira, an overly emotional alcoholic, who regrets leaving his family and having a sex change in Casablanca. Fassbinder made the film shortly after his significant other committed suicide on his birthday. The project was his way of coping with the tragedy. Given the personal and social context, the overall mood of the film is very dark. The social context refers to the general confusion and shame that existed in German society after 1945. However a few lighthearted scenes, help to create a sense of balance in the film, e.g. near the end there is a perfectly choreographed dance sequence.

One of the most beautiful and unforgettable scenes in the film is when Elvira walks through the killing floor of the slaughterhouse telling her life story and reciting lines from Goethe’s play Torquato Tasso. It is easy to feel remorseful for Elvira who has deeply suffered throughout her entire life. Fassbinder uses Elvira to illustrate the inherent pain of existence, and to demonstrate that the most important thing in life is to endure the suffering, simply because that is what humans do.

A Zed and Two Noughts (7.7/10)

2007-09-15T21:34:00.000-07:00

Peter Greenaway, 1985.
A large white swan causes a car crash near a London Zoo leaving two women dead and forcing one lady to have her leg amputated. After the accident the husbands of the deceased, who happen to be twin brothers, develop an intense fascination with the decomposition of living organisms. They spend their days making time-lapsed films of rotting animal corpses which carefully show each stage of natural decay.

It is interesting that David Lynch and Peter Greenaway both initially started out as painters and gradually evolved into making films. Lynches first film was an attempt to create a ‘moving painting’. It is evident that Greenaway composes each scene in the same manner as he would approach a blank canvas. The most noticeable and intriguing aspect of his composition, is the way he manipulates proportion and balance within the frame to create a unique spatial relationship.

The cover shows a still photo from the movie where the two brothers are pretending to be conjoined twins watching a dead zebra decompose on an outdoor screen. The red construction line is the vertical axis at the mid point of the frame showing the screen perfectly centered, yet the central axis of the brothers position is shifted slightly to the left. This theme of slightly distorting the overall balance of the scene is not only evident throughout the film but is present in Greenaway’s other films noticeably; The Cook, the Thief, His Wife & Her Lover (7.0/10).

Jan van Eych, Arnolfini Portrait, 1434.

Greenaway’s aesthetic is heavily influenced by the paintings of the Dutch Renaissance. Van Eych’s painting is probably the best known work from this period and is an obvious starting point in trying to understand Greenaway’s composition. The painting has a clear vertical axis shown as the red construction line at the mid point of the frame; however the husband and wife are not in perfect equilibrium. The circular mirror which is the focal point of the painting, and the chandelier are centered directly on the axis but the joined hands are slightly off. I am not sure why Van Eych did this when he could have easily centered the hands on the vertical axis by slightly outstretching the wife’s arm. This minor asymmetry gives the painting a pleasant sense of ‘lopsidedness’.

Gerrit Van Honthorst, Margareta Maria de Roodere and her Parents, 1652.

Gerrit Van Honthorst, The Match Maker, 1625.

Gerrit Van Honthorst, Musical Group on a Balcony, 1622.

Gerard Van Honthorst, another Dutch Renaissance Painter also illustrates this irregular equilibrium with his three paintings; Margareta Maria de Roodere and her Parents, the Match Maker, and Musical Group on a Balcony. In all three paintings the red construction line is the Y-axis, centered at the mid point of the canvas, and the yellow line is the actual line of symmetry in the painting. In each case the paintings actual line of symmetry is shifted slightly to the right away from the frames midpoint axis. This skewed sense of symmetry could be a reaction against the strict humanist rules of Italian renaissance art and architecture, which were strictly based on the proportions of the perfectly symmetrical human body. One explanation is that the distortion of spatial balance is an attempt for Dutch Artists to separate themselves stylistically from their Italian counter parts.

The obsession with symmetry is personified in the character of Alba Bewich, the lone survivor of the accident. The plot would have worked just as well if she simply broke her leg, or badly sprained her ankle. The reason Greenaway specifically made her lose a leg, because it made her asymmetrical. At the end of the film she has her other leg amputated in a drastic attempt to restore symmetry or in her words, “because it looked so sad all alone”.

Ivans Childhood (7.6/10)

2007-09-12T08:45:00.000-07:00

Andrei Tarkovsky, 1962

Ivan a pugnacious 12 year old orphan, is stubbornly determined to avenge the murder of his parents. He volunteers as a reconnaissance scout with the Soviet army during the Second World War. The film chronicles his adventures behind enemy lines and his tumultuous relationship with the Soviet Generals, who act as his adopted guardians. What I admired most about this film and about Tarkovsky’s films in general, is their strong connection to nature. He is able to capture the true essence and beauty of nature better then any director I know of. Tarkovsky treats each component of the natural environment as an individual character. The trees in the forest or the swampy landscapes are equally important as the actors. This biocentric philosophy gives his films a unique spiritual quality. In addition by using long takes he transcribes the passage of time in real-time making the film seem more ‘realistic’, and provides the perception of ‘presence’. Tarkovsky referred to this type of film making as ‘sculpting in Time’, which he further develops in subsequent works. Although Tarkovsky was disappointed by the finished product, the film proved to be a huge inspiration to both Bergman and Kieslowski. In my opinion Tarkovsky’s best work is without a doubt Stalker (8.6/10***SUPER), which interestingly is the film he himself is most proud of.

Kenneth Anger Vol. 1 Trailer

2007-09-09T11:56:00.001-07:00

The trailer for a collection of Anger films, which includes scenes from Inauguration of the Pleasure Dome.

Inauguration of Pleasure Dome (6.5/10)

2007-09-09T11:50:00.000-07:00

Kenneth Anger, 1954.
This is probably Kenneth Angers most famous short film. I rented it because I was somewhat scared and intrigued by Anger, hearing that he was a major figure in the Hollywood occult scene during the Sixties. I thought that the movie was poor, it was like watching a messed up elementary school play, complete with home made costumes, and shitty cardboard sets. The story was based on ‘Kubla Khan’ by Samuel Taylor Coleridge combined with occult mythology. Although I did not fully understand the film, it was definitely very interesting, and provoked me to rent a collection of Angers Short Films. Anger is definitely very talented, many of his shorts are very well done, and extremely creative. It was also cool to hear that he was friends with Fellini and an inspiration to Martin Scorsese.

Kinski - Jesus

2007-09-08T20:50:00.001-07:00

Klaus Kinski is an amazing actor.

Fitzcarraldo (7.7/10)

2007-09-08T20:30:00.000-07:00

Werner Herzog, 1982.

In my opinion this is Werner Herzog’s best film. Fitzcarraldo is about an eccentric, ego driven, European entrepreneur who is consumed with building a grand baroque opera house in the middle of the Amazon Jungle. The film chronicles his journey up the Amazon River looking for an ideal place to start building his opera house. The off camera drama between Klaus Kinski and Werner Herzog give the movie another interesting dimension. It is rumored that at one point in the film, Herzog was directing Kinski at gun point, threatening to kill him if he did not finish the scene. This story is a classic, and although Herzog denies threatening to kill him, he does admit to pointing a loaded rifle at Kinski. For more information about the drama between Herzog and Kinski see My Best Fiend (6.9/10). I was so impressed with Kinski’s performances in Fitzcarraldo and Aguirre: Wrath of God (7.5/10) that I decided to see his self proclaimed masterpiece Paganini (5.0/10). Initially Herzog was supposed to direct Paganini, but he said that it was too crazy and could not be done. So Kinski went ahead writing and directing the film him self. Paganini is about a troubled perverted classical violinist, loosely based on Kinski’s own life. The finished product is a film that is absolutely crazy, somewhat disgusting, and very poor overall.

Killer of Sheep Trailer

2007-09-08T20:28:00.001-07:00

Please see below for description and rating.

Killer of Sheep (8.1/10)

2007-09-08T20:18:00.001-07:00

Charles Burnett, 1977.
Killer of Sheep was Burnett’s graduate thesis at UCLA, about an economically impoverished family living in the Watts district of Los Angeles during the seventies. The Father spends his days working long hours at some sort of meat packing/slaughter house, and his free time hanging out with a bunch of petty criminals. The wife stays at home grooming herself, as the youngest daughter lounges around the house, and the son and his crew throw rocks at each other on the streets. The film sheds light on the problems of class struggle and poverty in America. At the same time, it illustrates the timeless lesson that money and mindless consumption do not equal happiness. The simple virtues of hard work and family are what is most important in life, not ones annual salary. Killer of Sheep is an incredibly beautiful film that is as important to American Culture as any Kerouac book or Pollock painting. It is also interesting to note that Burnet made the film for less then ten thousand dollars, proving once more that you do not need a lot of money to make a remarkable film.

Inland Empire (7.9/10)

2007-09-08T16:23:00.000-07:00

David Lynch, 2006.

In my opinion Inland Empire is easily the best film of 2006. While I enjoyed the aesthetics of Mulholland Drive (7.2/10), and Lost Highway (7.0/10), I found that Lynch’s non linear structure made them difficult and somewhat frustrating to watch. With Inland Empire Lynch continues his signature style, but this time he makes it work really well. The same week that I watched Inland Empire, I listened to Lynch’s book (which he narrated himself), ‘Catching the Big Fish’. In the book Lynch talks about meditation, consciousness, creativity, film, and art. He explains that when he was casting for Blue Velvet (8.3/10***SUPER), Dennis Hopper immediately came to mind to play the role of Frank. Lynch’s Producer and Casting Director informed him that Dennis Hopper was really messed up on drugs, was unstable, and would ruin the film. Later on David received a phone call from Dennis proclaiming, “listen David, I need to play Frank, because I am Frank”. I thought that this was amazing.

Holy Mountain (7.0/10)

2007-09-08T15:50:00.000-07:00

Alejandro Jodorowsky, 1973.
This film is the pinnacle of cinematic madness. I greatly admire Jodorowsky’s films and have seen Holy Mountain and El Topo (7.4/10) at least half a dozen times. While El Topo was a Gurdijeff, Sufi, Zen, Christ, inspired spaghetti western that worked really well. Holy Mountain was a jumbled mess of ‘cool’ images. It would not be surprising if Jardorowsky simply made the weirdest most excessive film ever, merely because he could. After the underground success of El Topo; John Lenon, Yoko Ono, and Allen Klein (the manager of the Beatles), helped finance Holy Mountain essentially giving Jardorowsky a blank check. While the film is intense and very interesting to watch, it is way too over the top. The plot slowly fades out as the movie progresses, instead of gradually building to a climax. In fact the first time I watched Holy Mountain, I thought that Jardorowsky ended the film simply because he ran out of money.

lunacy trailer

2007-09-08T15:43:00.001-07:00

Please see below for rating and description.

Lunacy (7.6/10)

2007-09-08T10:06:00.000-07:00

Jan Svankmajer, 2005.

In my opinion Jan Svankmajer is one of the most creative people alive today. Lunacy is about the reincarnation of the Marquis de Sade in an insane asylum, and the perverted madness that ensues. I am not sure why Svankmajer chose to make a film like this, or what its significance given the current situation of world affairs. It is highly doubtful that Svankmajer would make a film portraying such a revolting subject matter such as sadism, purely for aesthetics. Throughout the film there are several interesting and enjoyable stop motion segments, where Jan uses pieces of raw meat as characters. Although I enjoyed Lunacy, my favorite Svankmajer film is still without a doubt, Conspirators of Pleasure (8.4/10***SUPER).

Taste of Cherry (7.5/10)

2007-09-07T12:26:00.001-07:00

Abbas Kiarostami, 1997.
This film is proof that you do not need a lot of money to make an amazing film, and should be an inspiration to independent film makers around the world. The film is about a middle aged man driving around Tehran looking for someone to help him commit suicide. In reality he is looking for a reason to continue living. While the above synopsis sounds depressing the film is actually very interesting and insightful. Abbas Kiarostami is extremely talented and the film has a unique rustic homemade quality. The beauty of the film and his films in general, is their simplicity. He uses uncomplicated characters facing typical problems that everyone can relate to. For example, Ten (7.1/10) illustrates gender inequality shown through the eyes of a female taxi driver in Tehran. In Close-Up (6.8/10) class struggle is demonstrated through an unemployed man pretending to be a famous Iranian film director.

I Stand Alone (7.6/10)

2007-09-07T10:36:00.000-07:00

Gaspar Noe, 1998.
This film is intense!! Gaspar Noe takes you on an unforgettable journey in to the mind of sadistic unemployed butcher. Throughout the film there is a constant stream of internal dialogue, by which Gaspar allows the viewer to hear what the Butcher is thinking. His conscious thoughts are filled with hate, anger, and violence. Only at the end of the film when he finds happiness with his estranged daughter, does the internal dialogue stop. I am not sure if he is referring to the dangers of thinking too much or to the trouble with moral relativism, either way I thought that this was very well done. While I am really glad I saw I Stand Alone, I would never watch it again.

Citizen Kane (7.9/10)

2007-09-07T10:32:00.000-07:00

Orson Welles, 1941.

Citizen Kane commonly regarded as the best film ever made. I disagree, although it is definitely a very good movie that is well worth watching. Maybe it is the best American film ever made? The story is about the life of fictional media magnate Charles Foster Kane played by Orson Welles, told in a series of flashbacks after his death. The character was inspired by the original media tycoon William Randolph Hearst, and is one of the main inspirations for Mr. Burns’s character in the Simpsons. Orson Welles does an excellent job playing Kane, whose life sheds light on the emptiness of materialism and the ego.

La Dolce Vita (8.2/10)

2007-09-07T08:12:00.001-07:00

Federico Fellini, 1960.
This is Fellini’s most popular masterpiece and is the quintessential ‘classy’ Italian film. Taking place in Rome, it is about a journalist who infiltrates the decadent social life of rich celebrities and quickly discovers the moral emptiness of hedonism. The first time I watched La Dolce Vita I could not get over the fact that the entire film was ‘perfect’. Every single shot, character, actor, dialogue, set, is absolutely perfect. It is difficult to explain in words, but if you watch the film you will immediately understand. I heard a rumor that after the success of La Dolce Vita, Fellini’s subsequent films were given a virtually unlimited production budget. I cannot say enough good things about Fellini, in my opinion he is to film what Picasso is to painting.

Mouchette (7.6/10)

2007-09-07T08:07:00.000-07:00

Robert Bresson, 1967

Mouchette is a poor, angry, and shit disturbing prepubescent. Her story is one of hardship, having to take care of her dying mother and baby brother, while enduring an abusive alcoholic father. What I really liked about the film is the duality that Bresson creates in Mouchette. On one hand she evokes sympathy from the viewer because of her situation, at the same time her unpleasant and vengeful personality makes her easy to dislike. This contradiction creates a very interesting character. Bresson’s films have a very unique quality about them. While they seem to be very simple, almost to the point of being boring, they work perfectly as a whole. I found the same thing with Au Hasard Balthazar (7.2/10), Pickpocket (7.5), and Diary of a Country Priest (7.3).