Little Children (2006)
The monotony of suburban life slowly sinks its claws into our characters from Tom Perrotta’s novel, who also wrote the screenplay. Directed by actor and writer Todd Field (In the Bedroom) and characters portrayed by the prestigious Kate Winslet, Jennifer Connelly, Patrick Wilson and Jackie Earle Haley (Bad News Bears).
It’s Boston, upper middle class, and Sarah Pierce (Kate Winslet) is stifled by the comforts of suburbia, strained by her young daughter’s constant needs. Formerly a creative academic, she put her self interests on hold for her husband’s successful career, anchoring the home life. While whittling away the day at the park with the neighborhood moms, she meets at home husband Brad Adamson (Patrick Wilson) escorting his son to the playground. The other moms refer to him as the “quarterback”, shyly expressing their infatuation with the handsome Brad. Sarah, bored, introduces herself to him, igniting a spark between them.
At home, Sarah’s marriage has become frustrating, her husband more interested in online masturbation than making love to her. She works up the courage to buy a bathing suit and heads to the neighborhood pool, scheming to run into Brad, knowing he regularly takes his son. Soon, they develop a nurturing friendship, Brad himself having issues at home with his wife, notably jump starting a law career he has no interest in. During their summer afternoons, we are given voice over excerpts from the novel, perfectly fitting as the scenes flow by.
Meanwhile, we’re introduced to Ronnie McGorvey (Jackie Earle Haley), recently released from prison for indecent exposure to a minor. He moves in with his mother, who dotes on him, treating him like a boy with constant attention. His unwanted arrival to the neighborhood brings on the wrath of local bully and friend of Brad’s, Larry Hedges, an ex cop with his own baggage of failure. Ronnie is constantly barraged with hate crimes, taunted, but ignores everyone, keeping to himself.
Sarah and Brad finally unleash their passion in the basement of Brad’s laundry room during a rainy afternoon. It begins a torrid affair, the both of them finally freed from the shackles of their burdensome marriages. Sarah becomes serious about their affair, envious of Brad’s life with his wife Kathy (Jennifer Connelly). On a hunch, Kathy invites Sarah and her husband over for dinner and detects the sexual tension between Brad and Sarah. She has her mother stay at their house, serving as a spy.
Ronnie’s situation deteriorates. He attempts to swim in the neighborhood pool, littered with children. Soon, the mother’s are screaming, frantic and Ronnie is left alone in the pool, children scurrying for safety, while the police arrive to escort him. Later, he has a failed date his mother arranges for him and Larry continues to torment him. During one of Larry’s hate crimes, Ronnie’s mother has a heart attack leading to her eventual death, devastating Ronnie.
Sarah and Brad agree to make a life together, leaving behind their families, but things don’t go as planned. Ronnie finally hits rock bottom but is saved by an unlikely friend. While the film ties together these parallel stories into a stunning conclusion, we are completely enthralled with the outcome. The intelligent credibility given to the characters and the obstacles they must overcome to find their happiness in an ordinary suburb is unforgettable. Kate Winslet gives a wonderful performance, her desperation, vulnerability striking true in each scene while Patrick Wilson, somewhat unknown, gives a memorable, fresh impression. Jackie Earle Haley, though, almost steals both their thunder, earning a well deserved Oscar nomination. Todd Field orchestrates a wonderful picture, shot beautifully, which is only his second film. We can only hope for more.
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Tags: Jackie Earle Haley, affair, Kate Winslet, Jennifer Connelly, Patrick Wilson, Tood Field, Tom Perrotta, Little Children, suburban frustration
Infernal Affairs (2002)
No time is wasted in this Hong Kong crime thriller from Andrew Lau. We’re quickly introduced to the film’s two protagonist’s, Asian film stars Andy Lau and Tony Leung. Each are groomed at a young age to lead a false life, their true intentions conflicting them until the end of the film. Andrew Lau’s swift pacing, frenetic energy and intelligent plot points is gripping, as we watch these two stars collide, matching wits and bullets.
Police officer Chan Wing-Yan (Tony Leung) is an undercover cop deep into the Triad clan, becoming a trusted henchman for gang leader Hon Sam (Eric Tsang), 10 years into his work. Meanwhile, Lau Kin-Ming (Andy Lau) is part of Hon’s gang at a young age and given instructions to join the police force with his clean record to infiltrate their system, serving as a spy. He quickly rises, heading a team of high security officials, giving tips to Hon, helping him keep the police away.
Things come to a head during a failed drug deal. As Police Superintendent Wong Chi-Shing (Anthony Wong) closes in on busting Hon during a drug deal, they find out just in time from Lau’s tip to dump the drugs prior to arrest. It’s then that Hon’s gang and the police force realize they have a spy in their organizations, pitting them in a race against each other to find the culprit.
The film throttles ahead, both Lau and Chan increasingly conflicted with their lies and the constant strain of deception. Chan becomes volatile and disruptive, his behavior questionable as though he’s taking on the gang’s traits of violence. Lau shows signs of doubt in his role as a corrupt cop, wanting to redeem himself. He finally ends Hon’s reign himself and is celebrated as a hero in the police force, but his true role is uncovered by the stunned Chan.
The film’s well developed characters and sharp dialogue gives the action a pure sense of purpose, steaming ahead to the inevitable collision of the two spies finally discovering each others identity. There’s no weak link with any of the actors, everyone giving a gritty performance. The non stop developments and sudden twists are unexpected and welcome. Andrew Lau’s film is unique, bringing a fresh, new vision to this well treaded genre.
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Tags: action thriller, Andrew Lau, Andy Lau, crime thriller, gangster film, infernal affairs, Tony Leung, Triad
The Graduate (1967)
Mrs. Robinson, if you don’t mind my saying so, this conversation is getting a little strange – Benjamin
Charles Webb’s novel “The Graduate,” first published in 1963, wasn’t a sensation until Mike Nichols turned it into the voice of the late 60’s, capturing the brink of lunacy the decade was about to stumble into: impassioned youth vs the old regime. Webb was paid $20,000 and told to go away, not asked to assist with the screenplay, considered an eccentric. Regardless, this shouldn’t detract from Nichol’s vision but it’s a shame Webb wasn’t included in the creation and aftermath of its wild success. Nonetheless, Mike Nichols transcended Webb’s masterpiece and captured the mood of a growing number of young, disgruntled Americans, his comedy-drama appealing to most everyone.
Benjamin Braddock (Dustin Hoffman) makes it clear he’s not enjoying his graduation party, his parents begging him to come down from his room and talk to everyone, none of which are his friends, but his parents. Methodically smiling and answering questions, he coasts through the crowd and returns to his room. His gloom is interrupted by the appearance of the elegant, attractive and older Mrs. Robinson (Anne Bancroft), asking him to drive her home, which he reluctantly does. She doesn’t waste time, offering herself to have an affair which he nervously declines, but eventually relents.
They meet regularly at a hotel. Benjamin isn’t satisfied with their vacant relationship, but Mrs Robinson won’t have it, preferring to keep the affair purely on a physical level. While this goes on over the summer, Benjamin lounges at home, at the pool, in no rush for anything while his parents hound him to make a decision for grad school and show some initiative. We’re also introduced to the precious soundtrack by Simon and Garfunkel, the bare instrumentals wistfully washing over his warm summer of love.
Ben is favored by Mrs Robinson’s husband and encourages him to take out his daughter Elayne (Katherine Ross), along with Ben’s parents. Mrs Robinson is vehemently opposed to this, but a date is arranged nonetheless. Ben doesn’t disappoint, treating Elayne terribly, their last destination to a strip club with her storming out in tears, embarrassed. He chases after her and quickly apologizes and unexpectedly, they make a connection, their chemistry blossoming into a relationship, effectively ending his dalliance with Mrs Robinson.
Mrs Robinson then threatens Ben to end his romance with her daughter or she’ll reveal their affair. Panicked, Ben tells Elayne everything. Ben is rejected by Elayne, horrified by the news, while Mrs Robinson listens in the hallway, her humiliation apparent. Elayne heads back to college and but Ben tracks her down, watching her from afar, and finally gathers the courage to face her and ask for a second chance. She reluctantly turns him down but before he can see her again, Mrs Robinson hastily arranges Elayne’s marriage to a friend, sending Ben on a wild chase to find the wedding and call it off.
Anne Bancroft was already a well respected actress in film and theater before this role, but it made her into an icon, ingrained in our memories forever as the seductive Mrs Robinson. Judged on its own merit, her performance is remarkable, her presence looming throughout the film, a formidable lover and opponent for Dustin Hoffman’s meek Ben, who grows into man by the end of his journey, in a break through performance. Released during the Vietnam war, it gave a voice to the youthful middle class, a surging influence ready for change, Mike Nichols’s delivering at the right time.
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Tags: 1967, affair, benjamin braddock, Charles Webb, Dustin Hoffman, Katherine Ross, Mike Nichols, Mrs Robinson, older woman, Simon and Garfunkel, Vietnam
Henry and June (1990)
During the 1920’s and 30’s, Paris became a playground for a variety of artists, such as Ernest Hemingway, F. Scott Fitzgerald, Ezra Pound, Gertrude Stein, Anais Nin and Henry Miller. This film focuses on the relationship between writer Anais Nin (Maria de Medeiros), Henry Miller (Fred Ward) and his wife June (Uma Thurman). This encounter unlocks Nin’s unexpected voracious sexual appetite, an emotional and intellectual awakening. Liberated from her timid marriage, she learns what it is to love and be loved unconditionally, driven by passion and desire. The film is based on Anais’s diaries during her affair with Henry Miller, released only when they had both passed away.
Anais’s creative writing ambitions are supported by her husband, banker Hugo Parker Guiler (Richard E. Grant) while they live in Paris. She’s introduced to Henry Miller through her husband, who has recently moved to Paris to complete his first novel Tropic of Cancer. She’s intrigued by his blatant masculinity and his appetite for life, equally drawn to his talent as a writer. Henry mentions his wife June, a seductive, manipulative, beautiful actress, serving as the inspiration for his novel.
June then arrives from New York and Anais is quickly smitten. She finds June’s bohemian lifestyle magnetic: alluring, glamorous, erotic. They quickly build a deep connection and have an intimate moment together, sharing a kiss during a night out. Anais embraces June’s sexual confidence, her curiosities growing and spilling into her marriage. Inspired by June’s sexual experiences and personal charisma, Anais decides to write a novel based on her as well, from a woman’s perspective. Soon after, June leaves Paris for New York for a film audition.
At a Spanish nightclub, Hugo steps away to play with the band while Henry corners Anais in the back room, suddenly aware and drawn to her sensual awakening. He forces himself onto her and she succumbs, making love wildly in the corner as the shadows from another room dance over them. This begins their torrid affair, igniting Anais’s wild passion for love, embracing the mysteries of sex that had once escaped her. She keeps her affair a secret from Hugo, but he does notice and enjoy his wife’s new found sexual appetite, as they explore whore houses and new sexual adventures.
Eventually, June returns to Paris and Anais rekindles her passion for her. None of this is known to Henry, though, Hugo is suspicious, especially when Anais asks him to make love to her, as though, he was making love to June. Henry plugs away at his novel, sparked by his infatuation with Anais, though, dodging the razor sharp criticisms regularly hurled at him from June. She makes it clear he should be thankful for her and her many sacrifices, her life giving his writing content and material, though, his love never quite enough.
In bed with June and on the brink of her seduction, Anais falters and reveals her affair with Henry, which results in June’s outrage. She storms off, leaving Henry’s apartment and back to New York. Shattered by this sudden development, Anais chooses to end her affair with Henry but will help get his novel published, believing it to be a groundbreaking literary work. Anais concludes that her affair with Henry will change her forever, no longer the timid girl who yearned for sexual liberation but now a woman completely free, as an artist and lover, a bond forged from her pain and love with Henry.
Uma Thurman gives a terrific performance. She gives June a thick, New York accent sounding almost masculine, contradicted with her sinewy, sexy limbs, seductive mannerisms and perfect face, the symbol of female erotica unhinged. Fred Ward plays Henry with brute force, his portrayal reminding us of a young Marlon Brando, the emotions and actions spontaneous, filled with careless passion. The remarkable similarities in appearance between Anais Nin and Maria de Medeiros extend beyond their looks. De Medeiros captures Anais’s sexual curiosity, never bordering on mindless lust, but showing us her evolving growth intellectually and sexually.
Paris isn’t given bright colors or decorated lavishly but given somber grey tones, an industrial feel with many shadows and secrets, uncovered by Anais on her journey of self discovery. New scenes are introduced with gradual fades, the colors warm, lit by candles with wine on every table, drunk freely. The intimacy between the lovers is inescapable, while crammed among friends in a bistro or during another session in bed. Director Philip Kaufman (The Unbearable Lightness of Being) is intimately tied to the film, having met Anais Nin as a young student and she telling him to pursue his film interests. His wife helped him write the screenplay while his son produced the film. The film therefore is thorough, no detail left to assumption, as we are given the ultimate portrait of a woman on the verge of a sexual rebirth, a passion unlocked with an affair however brief, but never forgotten.
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Tags: 1930's, affair, Anais Nin, Fred Ward, Henry and June, Henry Miller, June Miller, love, Maria de Medeiros, New York, Paris, Phillip Kaufman, Richard E. Grant, sex, Tropic of Cancer, Uma Thurman
Kramer vs Kramer (1979)
A growing trend during the late 70’s was divorce. This film takes a close look at this issue, but not from the woman’s perspective, as expected, but from the man’s. Seeing the perspective from his point of view is eye opening. The couple also have a young son, adding to the emotional complexity and pain they must go through. This was the first film, headlined by major stars, to tackle this issue, propelling the subject into the headlines and into mainstream America as a growing problem.
The film opens quickly, not wasting any time setting the story in motion. Ted Kramer (Dustin Hoffman) is a workaholic advertising exec and given an important new account. After a long day, he comes home to his wife Joanna (Meryl Streep) to let her know the good news, but she’s barely listening, her face grim, tears in her eyes, as only Streep can do. She wants to leave him. She’s unhappy and needs to “find” herself. She feels suffocated in their marriage and feels she’s not a good wife or mother. She leaves abruptly, leaving their son Billy (Justin Henry) to Ted.
We see Ted adjusting to his new responsibility and loss. It’s heartbreaking as he struggles to provide his son with the things he needs while Billy constantly reminds him of his shortcomings, comparing him to his mother. Ted has to juggle his son’s needs along with his ever increasing workload, the lines blurring at the office and home. After sometime, Billy finally begins to understand his mother’s departure, blaming himself first but eventually understanding it’s a larger problem between his parents. Ted and Billy begin to form a close bond eventually, mending the damage and filling the hole with Joanna’s absence. There’s a remarkable scene in which Ted and Billy begin their morning, in perfect sync with each other’s habits, washing up, setting the table and preparing breakfast, not exchanging a word to each other, but their closeness easily apparent.
Eventually, Joanna returns to Ted to explain she wants to have a divorce and retain custody over Billy. Ted is shocked at her request after making many sacrifices in the past year to raise Billy but also now has a very close bond with his son. Joanna believes she is now prepared to raise her son after establishing a successful career and seeing a therapist. Also, she believes a son should be raised by his mother. Ted’s lawyer isn’t optimistic for his chance of success, as these cases are frequently ruled in favor of the mother. Then ensues a cruel, bitter and emotional court battle, the lawyers exposing every flaw ruthlessly, picking at them like scabs, leaving the decision into the hands of the judge.
This film justifiably launched Meryl Streep into stardom, building on the success she had with “Deer Hunter” from the previous year. Dustin Hoffman was already a legend at the time, but this maybe his finest role. And even Justin Henry plays the son with great conviction. These outstanding performances are supported by a wonderful script that director Robert Benton handles perfectly. The quick pacing of the film keeps us captivated but also the remarkable timelessness of the film’s impact is as effective today as it was then. It never sinks into melodramatic hodge podge but uses humor to keep things moving, the story perfectly balanced and delivered.
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Tags: 70's, child custody, Deer Hunter, divorce, Dustin Hoffman, Justin Henry, Kramer vs Kramer, Meryl Streep, Robert Benton
The Hudsucker Proxy (1994)
You know, for kids! – Norville Barnes
1994 was a landmark year in film. “Pulp Fiction” led the way followed by “The Shawshank Redemption”, “Forrest Gump” and “Clerks.” Buried among all these treasures is Joel and Ethan Coen’s “The Hudsucker Proxy.” It was panned by critics and never given a chance, doomed for box office failure. The Coens were disappointed, their first critical failure after releasing “Blood Simple”, “Raising Arizona”, “Miller’s Crossing”, and “Barton Fink.”
Norville Barnes (Tim Robbins) is the right man at the right time. A clueless, naive grad fresh from business school, he comes to the big city looking for a job, landing mailroom clerk at Hudsucker Industries. Then company president Waring Hudsucker commits suicide, leaping through the top floor’s window, opening the door for scheming, member of the board, Sidney J. Mussburger (Paul Newman) to name the company’s successor. Mussburger wants to take controlling interest of the company’s stock, having it plummet drastically only to buy it back. His encounter with Norville confirms his pick for the new president, in hopes he leads the company to ruin, generating suspicion for news reporter Amy Archer (Jennifer Jason Leigh).
She deceives Norville into hiring her as his secretary, uncovering Mussburger’s plot. Her news story is publicly dismissed when Norville produces his stunning success the hula hoop, generating wild popularity for the company’s finances and Mussburger’s chagrin. Heralded as a golden boy, Norville’s success quickly goes to his head, unable to come up with a new idea, basking in complacency. Mussburger plots Norville’s downfall, exposing his ideas as lies and Amy as a fraud. Hopeless, Norville feels doomed, until given a second chance from an unexpected source.
It’s clear the Coen’s wanted to have fun with this film and make a point on corporate greed, a rampant issue currently on Wall Street. They depict the company board as incapable, old and tired, scared to provide direction, easily manipulated by the ruthless Mussburger. The film’s look is appealing, everything cast in a grey pallor of corporate steel, the outfits shiny and sharp, the dialogue fast and witty, the city life speeding ahead, contrasting sharply with Norville’s hick persona. There are several memorable scenes, the best being the hula hoop’s rise to fame, beginning with its ambitious production, fall from favor and inevitable explosion on American pop culture. This isn’t the Coen’s best film, but shouldn’t be ignored as their imagination and positive outlook for the underdog is captivating, a departure from their darker, recent films.
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Tags: Ethan Coen, hula hoop, Jennifer Jason Leigh, Joel Coen, Paul Newman, The Hudsucker Proxy, Tim Robbins
Lawrence of Arabia (1962)
I pray that I may never see the desert again. Hear me God – T.E. Lawrence
The Middle East has been an ongoing conflict of culture and politics, always in the headlines for all the wrong reasons. Lost in this mess is its origins. After World War I and the collapse of the Turkish Empire, Britain and France carved up the Middle East to meet their needs, ignoring the pleas of Arab independence with Colonel T.E. Lawrence of the British Army as their biggest supporter. Lawrence had offered his own version of how the countries could be “aligned”, based on his significant experience working closely with the tribes during the war, but this was ignored.
The film is based on Lawrence’s memoir of the war “Seven Pillars of Wisdom”, a towering accomplishment reflecting his thoughts on military strategy, the Arab people and conflicts of loyalty. The film follows Lawrence’s book closely but loosely. Some characters are composites to represent a specific view while others are made up to help move the plot along. While the facts maybe questionable, there’s no denying the fiercely intelligent and understated dialogue, the screenplay possibly the best in film history.
The film opens with T.E. Lawrence’s funeral. Several prominent men of war are in attendance and when asked by a reporter their thoughts on Lawrence, they all offer wide ranging opinions, from a war hero to a show boat, reflecting his complexities. We then cut to the beginning of his war experience, Lawrence (Peter O’Toole) shown as a bumbling, awkward map designer in Cairo during WWI. He has a deep knowledge of the terrain and history from previous experiences in the region as an archeologist. Britain and the Arabs have united to oppose the Ottoman Empire for Arab Independence but things are going badly. Lawrence persuades his commander to dispatch him to the Middle East and meet with the Arab Revolt’s leader, Prince Faisal (Alec Guinness), and observe their dimming prospects.
It’s during this journey to meet Faisal that we first see the desert, splendidly shown in wide screen format, the camels tiny specks, the desert endless while Maurice Jarre’s majestic score sweeps us into grandeur. The desert looks soft and inviting, the sands golden and vast. Lawrence clearly is enjoying himself until he meets Sharif Ali (Omar Sharif), who kills his guide for drinking at his well. Ali is given a memorable introduction emerging as a mirage from the desert glare. Later, Lawrence then encounters Colonel Brighton and they arrive to Faisal’s camp, again meeting Ali, who is a high ranking solider in Faisal’s army. Though asked to keep quiet, Lawrence makes a strong impression on Faisal, noting his personal interest in Arab independence and sympathetic position with their struggle. Lawrence then offers that they should take the port city Aqaba from the less guarded rear, from the land. Met with doubt initially, he persuades Faisal and Sherif Ali and they set march, not notifying the British in Cairo of his plans.
During this long march in which they must cross a vast desert, Lawrence earns the respect of the Bedouin he must lead, leading by example but also inheriting their customs, speaking their language fluently. They return this respect by burning his British clothes and giving him a majestic white sheik’s wardrobe, which he proudly wears. After recruiting the legendary Auda abu Tayi (Anthony Quinn), leader of the powerful Howeitat tribe, they storm Aqaba easily, the Turks completely surprised.
Lawrence then leaves Aqaba and rides back to Cairo to let the British know of his astonishing conquest. He’s introduced to General Allenby, responsible for the British forces in the Middle East, and promoted major and given large sums of money and artillery for the Arab cause. Lawrence explains his guerrilla warfare strategy, having the Arabs strike the Turks unexpectedly and quickly, while also strategically destroying their railways, stifling their ability to mobilize troops and supplies.
At this point, Lawrence is growing into legend among the British and the Arabs. This is magnified with the arrival of a US reporter along with the Turks placing a bounty on Lawrence’s head. Lawrence doesn’t deny the myth making but embraces his new found glory, show boating among the Arabs, his white robes flowing. Peter O’Toole was unknown prior to this film, surrounded by a cast of veteran actors supporting his novice skills, but he performs admirably, perhaps one of the greatest film performances of all time. Lawrence is quite complex as a man of action, thought and the written word, leading a group of foreign men though loyal to his own.
With winter approaching and most of his army leaving for the warmer climates, Lawrence moves north with a small legion. Scouting a city, he’s captured by Turks, though, they don’t recognize him, thinking him an army deserter. He’s beaten badly and left for dead. Ali nurses him back to health, but Lawrence’s psyche and ego are damaged. Allenby persuades him to finish the war, leading his Arab irregulars into the final march of Damascus and ending their campaign. News of British and French interests emerge at this time and Lawrence is conflicted, continuing to tell Faisal and the Arabs the British have no interest in ruling their country, though, he knows better.
Lawrence does lead the Arabs first into Damascus but ultimately, the Arabs bicker among themselves, leaving everything for the British to control. Lawrence is dejected after having fought so brilliantly for the Arab cause, only to be let down first by the British and their deception and finally the Arabs and their diplomatic shortcomings. Guilty and demoralized, he’s treated as nothing short of a war hero in which he reluctantly accepts, sent home after bringing victory.
There are many war movies in the annals of film history, several documenting war heroes, but few match the sheer ambition and scope of “Lawrence of Arabia.” The last film to be shot in 70mm print, the vast sea of the desert is magnificent. O’Toole’s acting is supported by an all world cast, launching also the career of Omar Sharif. David Lean’s direction is at its peak, never surpassing this performance with his other wonderful films. The film is a portrayal of Lawrence and less a historical abstract, the right choice made by Lean for Robert Bolt’s screenplay. In sum, all the parts that make a film, came together perfectly.
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Tags: Alec Guinness, Anthony Quinn, David Lean, film epic, Lawrence of Arabia, Maurice Jarre, Middle East, Omar Sharif, Peter O'Toole, T.E. Lawrence
Waltz with Bashir (2008)
Instead of using rotoscoping, an animation style that uses drawings over live footage, director Ari Folman uses a technique that combines Adobe Flash cutouts, 3D technologies and classic animation. Each drawing was sliced into hundreds of pieces to coordinate movement, creating the illusion of action. This would explain why the film took about four years to complete. The result is a stunning achievement in animated film. The images and colors are gorgeous, a beautiful world created to tell a tragic tale.
“Waltz with Bashir,” follows a man who has vague memories of partaking in the Lebanon War of 1982 when he was 19 years old. After meeting an old friend from his infantry and talking of that war, he decides to track down his other comrades from that time and piece together his past, coming to terms with something that has been buried in his mind. During this journey of discovery, he begins to peel back the layers of forgotten events, hidden by his subconscious, questioning the psychology of traumatic events. When his memories are finally uncovered, this leads to his discovery of the tragic Sabra and Shatila massacre and his role during it.
Folman uses punk music effectively from that time period to reflect the unrest and despair felt by the youth, their future ravaged by war. The original soundtrack contrasts effectively of minimalist electronica, haunting and clean. Along with the music and the eye popping animation, we are seduced into this world of war. The characters easily convey their emotions, their expressions enhanced by unique visions, the power of the imagination unhindered. During the night of the massacre, the flares in the sky create a golden sunlight, warm and inviting, while human slaughter is taking place. Only when they’re finished, does darkness truly fall.
Folman’s film are a string of events that actually happened to him. It’s a documentary on his voyage of self discovery, digging out a memory he had unconsciously buried. The uncovered tragedy is heart breaking and his decision to use animation brilliantly heightens the experience. An unforgettable vision.
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Tags: animation, Ari Folman, Lebanon War, rotoscoping, Waltz with Bashir
8 1/2 (1963)
“Accept me as I am. Only then can we discover each other” – Guido
Federico Fellini’s “8 1/2″ is a film about making a film. It’s told from the director’s point of view, Guido (Marcello Mastroianni), clearly playing Fellini. Guido has an enormous budget, stars and starlets at his disposal and completed soundstages and sets. The only thing left is a finished script and a director with some focus. While we see a confused director who has run out of brilliant ideas, Fellini has definitely not, unleashing a wave of unforgettable images. We get an insider’s view of what it’s like to make a film from a director with a creative block, a reflection of Fellini’s artistic ambitions.
While Guido is trying to determine the course of his film, he has to deal with several distractions on and off the set. He is bombarded by questions and needs from the media, his crew and actors, leaving him frustrated and lost. His producer questions the screenplay constantly while his actors beg for more prominent roles. Guido masks his uncertainties to everyone while tormenting in private. These are trivial issues when his mistress (Sandra Milo) pays him a visit on the set which is complicated by his wife’s (Anouk Aimee) unexpected appearance. His wife portrays the image of reserved, Italian chic mixed with sexy intelligence, a sharp contrast to Guido’s mistress of bosoms, an insatiable sex kitten.
During the most stressful times, Guido lapses into dreams and flashbacks of past romances and childhood memories. This is the strength of the film as it shows Fellini at his best. The camera lovingly embraces its stars, tracking shots are used to keep up with the film’s frenetic pace and artfully angled compositions create picturesque masterpieces, all supplemented by Nino Rota’s beautiful score. He lets his imagination blossom within the dreams and flashbacks, from an unforgettable harem scene of past lovers to one of his early childhood memories growing up on a cozy farm loved dearly by his mother, safely tucked into bed. The black and white look only adds to the film’s beauty.
As Guido slowly gets a handle on his role in life and art, reconciling with his wife and God, he finally comes to terms with his new film. He finally relinquishes the lies and conceit, letting himself breath again and embrace life instead of running from it. Many of these themes overlap in a mixture of reality and fantasy, an enjoyable blender ride of unforgettable visuals. Guido’s an irresistible character, full of charm, cynicism and confusion, like most artist’s grappling with their craft. It serves almost like an enjoyable warning.
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Tags: 8 1/2, Anouk Aimee, Classic Film, director, Federico Fellini, filmmaking, Marcello Mastroianni, Nino Rota, Sandra Milo
Inglorious Bastards (2009)
“We’re in the na’azi killn bizness” – Aldo “The Apache” Raine
With his jaw jutting, eyes squinting, Aldo makes it clear to his Nazi captives the purpose of his mission in France near the end of WWII. Stunned, they watch as his dedicated Jewish legion begin to scalp the dead Nazi’s strewn about the hill side while another emerges from a tunnel carrying a baseball bat, known notoriously as the Bear Jew.
And so we are introduced to Quentin Tarantino’s inglorious bastards led by the incomparable Brad Pitt. The film is a labor of love for the unconventional director, having worked on the screenplay for five years, shelfing it to finish the Kill Bill series and finally completing it this year. Unlike most films involving Nazi’s and Hitler, which are typically grim and stoic; Tarantino takes these conventions and throws them into the bin. He blows down the doors that have been sealed tight with generic holocaust films and bends history to his will, creating something that will either leave you breathless or appalled, both agreeable outcomes.
The opening of the film seems to be a homage for Sergio Leone. Tarantino has never hid his love for Leone’s style, speaking fondly of his use of close ups, wide shot landscapes and wonderful scores. The similarities can be seen with the opening scenes of his film and Leone’s “Once Upon a Time in the West,” when we are first introduced to the heroine’s future family. The sparse background, the haunting score and the coming doom hint to Leone’s past masterwork, lending a hand to Tarantino’s.
The film is dialogue heavy but much of it is enjoyable, recalling past beauties such as “Pulp Fiction”, “Jackie Brown” and “Reservoir Dogs.” These scenes tend to build to a climax of bullets and explosions, a fulfilling conclusion after the scene is carefully crafted, our patience rewarded. Scene stealer Hans Landa (Christoph Waltz) impresses, using charm and charisma to mask his deep rooted evil and scheming, playing a high ranking official in the Nazi regime. Casting overall is brilliant, with several accomplished performances from somewhat unknown European actors and actresses, revolving around Brad Pitt’s shining star. Pitt seems to relish his role as the hick from Tennessee, with his deep, crackly southern accent spitting out one liners, his brow furrowed in thought and action and a wretched scar rimmed around his neck.
At times, the film does seem to drag by including unnecessary information or having the dialogue run too long, along with slow pacing. A typical flaw in a Tarantino film and probably expected by now. This is overcome, though, with bits of surprising humor.
Running parallel with Aldo’s mission of Nazi destruction, Jewish refugee Shosanna Dreyfus (French actress Melanie Laurent) is the lone survivor of her family’s slaughter at German hands. Years later, running a movie theater, she’s given the opportunity for revenge when high ranking Nazi’s plan to attend a film premiere at her theater. Aldo’s rouges catch wind of the arrangement and plot their own scheme, hatching a master plan of decimation. It’s a whirlwind climax, absolutely stunning in its finality and brutality, Tarantino’s juvenile joy in full glory.
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Tags: Aldo "The Apache" Raine, Bear Jew, Brad Pitt, Christoph Waltz, Inglorious Bastards, Jackie Brown, Melanie Laurent, Pulp Fiction, Quentin Tarantino, Reservoir Dogs, Sergio Leone
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