TALK TO HER (Hable con ella, Spain, 2002)

January 19, 2014

talk to her Greetings again from the darkness.  Not many writers/directors would put their two lead actresses in a coma for most of the movie.  But then Pedro Almodovar has never been one for a conventional approach.  His creative, challenging and visual story telling is at its peak with Talk To Her.  The Dallas Film Society provided an opportunity for me to revisit this one for the first time since my initial viewing in 2002.  A rare Best Original Screenplay Oscar winner for a Foreign Language film, those eleven plus years have not even slightly dulled the impact.

It’s typically pretty simple to determine what genre a particular film falls into.  Somehow Almodovar walks (and writes) a fine line between love story and horror story … comedy and tragedy. Always an expert at writing interesting female characters, this time he shows the women are the stronger force even while comatose!  The male leads are the ones suffering and dealing with loneliness.  Javier Camara as Benigno is both likeable and suberbly creepy as Alicia’s (Leonar Watling) caregiver.  Dario Grandinetti is stunning as Marco, whose stoic personality can reach dimensions most actors can’t touch. His scenes with Lydia (Rosario Flores) and Benigno are unlike anything ever seen on screen.

The film begins with a ballet piece featuring the amazing Pina Bausch (you should see the 2011 documentary Pina), and the rest of the film features similar pacing … each individual scene and even the film score create the feel of watching a ballet.  There is even a fantasy/faux silent movie sequence within the movie that will cause uneasiness and nervous laughter … while Almodovar again makes the point that the force of women can literally consume a man.

In addition to terrific performances by Camara and Grandinetti, the flashback sequences really allow Ms. Watling (as a fresh-faced dancer) and Ms. Flores (as a confident bullfighter) to prove why these men fell so hard.  One other actress adding interest is Geraldine Chaplin (daughter of Sir Charles) as Alicia’s dance instructor.  Her presence helps tie in the flashbacks and present tense.

While most writers tie up stories with a pretty bow, Almodovar purposefully challenges us to think and feel and dig into our own thoughts and beliefs. He is brilliant (and a bit annoying) with his persistence in making us work so hard. There are decisions coated in gray, rather than black and white.  There are characters who we want to like, but maybe/probably shouldn’t. Pedro’s use of color and texture is fascinating.  This is an example of a master filmmaker at the peak of his craft.  Sure, he has many other excellent films (Volver, All About My Mother, Broken Embraces), but if you only get one Almodovar, make it this one.

**NOTE: The priest in the wedding ceremony is played by Agustin Almodovar, Pedro’s brother and the film’s producer

watch the original trailer:

https://www.youtube.com/watch?v=7fl8tyEIXXI

 

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Posted by David Ferguson

YOJIMBO (Japan, 1961)

December 31, 2013

yojimbo Greetings again from the darkness. Yojimbo translates to “bodyguard”, but do not make the mistake of comparing it to the 1992 sappy mess The Bodyguard (Kevin Costner, Whitney Houston). This is one of the finest Japanese films ever made, directed by arguably the greatest Japanese director (Akira Kurosawa), and starring one of the top Japanese actors (Toshiro Mifune). It also served as the inspiration for Sergio Leone’s classic 1964 western, A Fistful of Dollars (with Clint Eastwood).

Based in 1860, we meet the unemployed ronin/samurai (Mifune) wandering the countryside allowing a tossed tree branch to determine the direction of his path. It leads him to a town where the ominous first visual is a dog carrying a human hand in his mouth. We realize this isn’t going to be the most welcoming of towns.

The town is controlled by rival factions: the Silk merchant versus the Sake brewer. They represent crime lords Seibel and Ushitora, respectively (think modern day bloods vs crips). Our clever ronin decides to play both sides against the middle and ends up hired as a bodyguard by BOTH gangs. As you can imagine, this leads to real problems for all involved.

yojimbo2 The psychology of (corrupt) power and fear is in play here, as is some dark humor (the coffin maker). The biggest clash comes with Unosuke (Tatsuya Nakadai), who proudly carries the town’s only pistol. He certainly enjoys (and abuses) the respect and power that comes with that handgun. The samurai are trained to be loyal at any cost, and it’s quite interesting to see our protagonist adapt to the self-preservation required in his new world.

Masaru Sato delivers a very unique score – one quite unusual for the samurai genre. Toshiro Mifune (pictured left) has one of the great faces in cinematic history, and Kurosawa is in prime form. This is definitely one to see if you enjoy the best films from all countries.  Other must see Kurosawa films include: Rashomon (1950), Seven Samurai (1954), Kagemusha (1980), and Ran (1985).  It should also be noted that Kurosawa directed a comedic sequel to Yojimbo called Sanjuro (1962). The sequel also starred Mifune.

watch the trailer:

http://www.youtube.com/watch?v=WzFq5hOlZ5s

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Posted by David Ferguson

THE GREAT BEAUTY (La grande bellezza, Italy, 2013)

December 15, 2013

beauty1 Greetings again from the darkness. This is Italy’s submission to the Academy for Best Foreign Film of 2013. If it wasn’t such a beautiful film to watch, a fun game of spot the Italian director influence could be played. Director Paolo Sorrentino owes much to Fellini and La dolce vita, but this is more than a tribute. Sorrentino shows great style and insight, and his commitment to camera angles, movement, colors, textures and faces are quite something to behold.

Toni Servillo plays Jep Gambardella, a man celebrating his 65th birthday by doing what he does most every night … beauty3partying with his group of intellectual friends. Jep had a successful novel published in his 20’s and has since worked sporadically as a journalist, but has never again focused on his writing. One can’t help but notice the similarities to Marcello Mastroianni in La dolce vita, but Jep is jolted with news that sends him flashing back to his younger years and his one true love.  Especially satisfying are the numerous shots of what makes Rome such an enchanting city.  The historical sites and beautiful sculptures and fountains provide quite the contrast to the startling appearance of the party goers.

beauty2 Much of the story includes Roman decadence, and it can easily be viewed as the decline of Roman civilization both past and present. See, Jep’s apartment overlooks the famous ruins of The Colosseum. Even moreso, we get a nice conflict between uppity society and the all too important modern and conceptual art crowd. Toss in a few pot shots at the Vatican and Sorrentino seems to be telling us that everyone takes themselves entirely too seriously … even as we belittle and judge others. Whatever his true message, the sensory overload provided here could be a film class in camera style and is quite fun to watch.

watch the trailer:

https://www.youtube.com/watch?v=Dyt430YkQn0

Leave a Comment » | Drama, World Cinema/Foreign | Tagged: , | Permalink
Posted by David Ferguson

THE BOOK THIEF (2013)

December 1, 2013

book thief1 Greetings again from the darkness. You may be familiar with the source material – the huge best selling novel from Markus Zusak. If not, you may be surprised at the “through the eyes” of an illiterate, orphaned child’s perspective of the German home front during WWII. You may be more surprised to learn that it’s narrated by The Grim Reaper (British actor Roger Allam), and includes a Nazi rally, book-burning, bomb shelters, a look at the anti-Jew and anti-Communist movements, the German conscription/military draft and the dangers associated with hiding a Jew in one’s basement (with similarities to “The Diary of Anne Frank”).

book thief2 There is no denying the melodramatic nature of the story and the presentation from director Brian Percival, but this one avoids schmaltz thanks to the remarkable performances of the internationally diverse cast led by the great Geoffrey Rush and Emily Watson, and especially Sophie Nelisse as the incredibly perceptive Liesel who provides the innocence and powers of observation that prove to us (and Death) that good people will do extraordinary things no matter the atrocious conditions. Another young actor to keep an eye on is Nico Liersch, who plays Liesel’s Aryan schoolmate Rudy … a dreamer who imagines himself as Jesse Owens (not a popular view among the Nazi powers that be).

book thief 3 As Liesel’s foster parents, Rush plays a warm-hearted WWI veteran, and Watson plays a cantankerous, grounded woman hiding the emotion she carries for her husband and new daughter. The biggest piece of hiding involves Max, a young Jewish man who is the son of a soldier who once saved the life of Rush’s character. Max and Liesel have a wonderful bond as he teaches her to speak through her eyes and she nurses him back to health by sharing her new found joy of reading.

The ghost of the boy who lived in the shadows … from H.G. Wells “The Invisible Man” plays a key role as Liesel tries to make sense of a world that delivers a daily dose of relentless danger. As she develops her love and dependence on the written word, it’s clear that to survive in these times, one must have something that provides hope. The unusual story structure with the odd narrator, and a mix of wry humor, keep us connected with the characters and allows the humanity to shine through. Still, I challenge you to watch this without a lump in your throat.

**NOTE: the score is from the great John Williams, who once again excels in complimenting emotional storytelling.

SEE THIS MOVIE IF: the melding of a child’s innocence and strength can be enough to overcome the pain and shame of seeing how the Nazi movement affected so many, at least for a two hour period.

SKIP THIS MOVIE IF: you care not to revisit any of the suffering and caused by WWII (even if it’s within a story of personal strength and survival)

watch the trailer:

https://www.youtube.com/watch?v=92EBSmxinus

Leave a Comment » | Drama, World Cinema/Foreign | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

PHILOMENA (2013)

November 29, 2013

philomena Greetings again from the darkness. Two people telling the same story can make that story sound infinitely different. Two people united in their efforts to solve a mystery can have vastly different reactions to the same situations. Such personality and attitudinal differences are the real core of this story … even more than the true life inspired story of a quest to reunite a mother and child after 50 years.

Peter Mullan’s startling 2002 film The Magdalene Sisters provided us a look into the dark side of Ireland convents in the 1950’s. Here, director Stephen Frears brings us the very personal story of Philomena Lee – one of the unwed teenagers banished to the convent to deliver her baby and work off her debt to the nuns and church, after signing away all future access to her child. It’s a heart-breaking story of the times, of the church, and of a singular woman. Philomena struggles with guilt and regret over 50 years until her daughter arranges a meeting with journalist Martin Sixsmith. This begins their journey to uncover the truth and find Philomena’s son, and provide us with a front row to two distinct ways of viewing the world.

Dame Judi Dench plays Philomena and Steve Coogan (also co-writer and producer) plays Martin, resulting in a very “odd couple” road trip and personality test. Dench is remarkable is her role (surely in the running for an Oscar nom) as the seemingly simple woman who reads romance novels, gets excited about salad bars, is thrilled with mints on her pillow, and has lived a lifetime with a hole in her heart created by having her young son ripped from her world. Coogan is effectively restrained (minus his usual exaggerated comic mannerisms) as the snooty Brit journalist who thinks writing and reading human interest stories are a waste of time. She has maintained her religious faith and faith in people, while he has long ago given up on God and flaunts his cynicism in most every situation.

Director Frears has a widely varied movie career – from The Grifters to High Fidelity to The Queen. He excels in drama with a wry sense of humor.  Some will view the movie as anti-Catholic (replete with cruel nuns) … it is difficult to defend the painful childbirth, isolated mothers, selling of children and lack of assistance in reconciling the parties. Others will view this as a victory of faith over intellect. It’s the world-weary journalist with the $5.00 words who ends up learning a life lesson. It can be a reminder that life is going to throw some difficult situations your way. Your attitude and approach that will determine how you deal with it … and how much emotional pain follows. This is another entry into gray cinema that will generate much debate and discussion … a sure sign of success for a movie!

**NOTE: this is based on Martin Sixsmith’s book “The Lost Child of Philomena Lee”

SEE THIS MOVIE IF: instigating post-viewing debate is one of your movie criteria OR you want to see what could be another Oscar nominated role for Judi Dench

SKIP THIS MOVIE IF: stories inspired by real life heart-break is not your idea of holiday entertainment, no matter how thought-provoking or well-acted.

watch the trailer:

https://www.youtube.com/watch?v=4DBPqcp6Hc4

Leave a Comment » | Drama, World Cinema/Foreign | Tagged: , , , , , | Permalink
Posted by David Ferguson

THE 400 BLOWS (1959, Les quatre cents coups, Fr.)

November 23, 2013

4001 Greetings again from the darkness. Cited as one of the films that begot the French New Wave, this one cuts straight to the nerve if you were ever misunderstood or felt isolated as a kid (and who wasn’t?). Knowing that it’s a semi-autobiographical presentation from director Francois Truffaut makes it all the more poignant. Truffaut was a troubled youth and (like many of us) used his love of cinema as an escape, and to provide hope for his future. His mentor, the famous film theorist Andre Bazim, died just before this (Truffaut’s first) film was released … it bears a dedication to Bazim.

Jean-Pierre Leaud plays 12 year old Antoine Doinel, a boy who just can’t get a break at home or school. Labeled a troublemaker (the film title translates “to raise hell” or “to live a wild life”) by a lazy, cruel teacher, and treated as a lost cause and unwanted burden by his tight-sweater-wearing mother (Claire Maurier, over 80 and still acting today) and stepfather (Albert Remy). Antoine’s days are spent reading Balzac, watching movies, and dreaming of escape. A couple of unfortunate incidents spiral out of control and he ends up first in jail, and then in an “observation center” for troubled kids.

4002 The beauty of the filmmaking is evident in most every shot … and there are some amazing extended takes. The overhead scene of the PE teacher “losing” students as they jog through the city is humorous and insightful. The puppet scene in the park is an extraordinary long take of kids’ innocent and mesmerized faces, and the extended shot of Antoine running through the countryside is a cinematic first. Above all of that is the famous ending shot – a zoom in to freeze frame of the young boy caught between land and sea (past and present).

Truffaut and Leaud teamed up for four more projects featuring the same character, Antoine Doinel. In 1962’s Antoine and Colette, he finds first love. 1968 brings Stolen Kisses and true love. 1970’s Bed & Board has Antoine getting married, and finally 1979’s Love on the Run brings divorce and life after a failed marriage. Other than the “7 Up” series, I can’t recall a movie character being tracked in real time for two decades in multiple films.

The French New Wave also included directors such as Jean-Luc Godard, Claude Chabrol, and Jacques Remy (who appears as a policemen in this movie). These filmmakers used realism to tell their stories just after the time when Hollywood was using icons such as James Dean and Marlon Brando to express rebellious youth. This makes for an interesting comparison and fun analysis. Whatever your preference, Truffaut’s first feature is clearly an exciting development for cinematic history.

**NOTE: Francois Truffaut was a huge Alfred Hitchcock fan, and published a book “Hitchcock, Truffaut” in which he interviewed Hitchcock on each of his films, in order.

**NOTE: Francois Truffaut periodically acted in films (including a cameo in The 400 Blows).  His most famous role was when Steven Spielberg (a huge Truffaut fan) cast him in Close Encounters of the Third Kind.

watch a trailer (not the original trailer):

https://www.youtube.com/watch?v=i89oN8v7RdY

The 400 Blows

4 Comments | Drama, World Cinema/Foreign | Tagged: , , , , , | Permalink
Posted by David Ferguson

THE BICYCLE THIEF (1948, Italy, Ladri di biciclette)

October 31, 2013

bicycle1 Greetings again from the darkness. To understand why this is considered a masterpiece of cinema and one of the best films ever made, one must put the era of its release into perspective. It’s 1948 – post war Italy and poverty mandates the fabric of society. Humanity is difficult to come by. Self-interest controls actions and emotions. Hollywood is in a glitz and glamor mode, while Italian cinema has been dominated with light-hearted and simple films. Vittorio De Sica is a matinée idol as an actor and also, as a director, one of the driving forces of Neo-realism … a genre that focused on the struggles of real people.

There is nothing fancy or complicated about this story. Ricci is one of the masses looking for work at a time when jobs are beyond scarce. One day he is extremely fortunate to be offered a job posting signs around town. He is elated at the bicycle4opportunity to again provide for his wife and young son. The only catch … he must have a bicycle for the job. His wife pawns their bedsheets to retrieve the bicycle and we join in with their pride and happiness brought on by this job.

We see Ricci on a ladder posting a Rita Hayworth movie advertisement … an example of Hollywood’s polar opposite approach to movies as compared to the Italian neo-realism. While on the ladder, Ricci witnesses the theft of his precious bicycle. His frantic reaction demonstrates the loss means so much more than the loss of two-wheeled transportation. It’s actually the loss of hope.

Soon enough Ricci and his young son Bruno are searching the streets of Rome trying to find the bicycle. It plays like a road trip movie as they experience many interactions on the streets and back alleys. Their search is painful to watch, and father and son endure many emotions, none more powerful than the last few minutes and a touching final shot that is a tribute to the great Charlie Chaplin.

All three lead actors are first timers which adds to the realistic look and feel of the characters and stories. Lamberto Maggiorani (Ricci) was a factory worker who showed up for auditions. He is a very striking man with a Daniel Day-Lewis appearance. Enzo Staiola (Bruno) was a 7 year old boy just watching the whole movie process when he was picked out of the crowd and cast. Lianella Carell (Maria) was a journalist on set to interview De Sica when he cast her as the wife/mother. Additionally, most of this was filmed on the streets and on location in Rome (very few sets).

de sica The actual Italian title is “Ladri di biciclette” which translates into Bicycle Thieves, but it has been best known in the U.S. as The Bicycle Thief, the title I prefer. It’s based on a novel by Luigi Bartolini and the screenplay comes from the incredibly prolific screenwriter Cesare Zavattini, who worked with most of the great filmmakers from the 1940’s through the 1970’s. Also of note, Sergio Leone was an assistant to director Vittorio De Sica (pictured left) during production. De Sica directed many wonderful films including Sunshine (1947), which looked at juvenile corruption, and Umberto D. (1952) which examined old age.

The film received an honorary Oscar in 1950, as there had been no category yet established for Best Foreign Language film.  Many question the status of this film as a masterpiece all these years later, but I certainly still experience it’s powerful and sensitive message, and would recommend to anyone who admires world cinema and the classics.

 

watch a trailer from one of the re-releases:

 

 

Leave a Comment » | Classics, Drama, World Cinema/Foreign | Tagged: , , , , , | Permalink
Posted by David Ferguson

THE HUNT (Jagten, Denmark, 2012)

September 3, 2013

hunt1 Greetings again from the darkness. It’s the worst nightmare for every Parent, Teacher and Child. Sexual Abuse of a child is incomprehensible … it’s unthinkable, yet all too common. So what happens when a man is falsely accused of such inappropriate action? Well if the accusation comes from the most innocent of faces – a 5 year old girl – the falsely accused man stand no chance … regardless of what the letter of the law states.

Such is the story of Lucas (Mads Mikkelsen, TV’s “Hannibal“), a lonely, small town kindergarten teacher who has gone through a rough divorce and is losing his fight for visitation rights to his teenage son. We witness Lucas quietly going about his life … he is loved by the students and surrounded by life long hunting buddies and friends. Soon enough, things start to look up for Lucas. An attractive teacher expresses her interest in him and his son hunt2convinces the mother that he should live with his dad.

The set-up of the characters and the powerfully simmering performance of Mikkelsen elevate this somewhat predictable story to the brink of excruciating discomfort for the viewer. In the blink of a childhood moment of imaginative confusion of emotional pain, an innocent man’s life is forever altered. Klara (Annika Wedderkopp) is the daughter of Lucas’ best friend Theo (Thomas Bo Larsen). A very protective teacher unwittingly leads Klara down the path that initiates a landslide of emotion that simply cannot be stopped. Of course, the teachers and parents and community believe the cute little girl … the innocence of kids cannot be doubted. As the defensive instincts of parents kick in, we see the dangerous side of influence and suddenly numerous kids have piled on and become part of Klara’s story.

hunt3 Director Thomas Vinterberg brilliantly keeps us looking through the eyes of Lucas. We know he is innocent and we beg him to scream it! Instead, he expects everyone to just know he does not have this in him at all. His faith in himself never waivers despite our discomfort and anger. He does finally reach a boiling point after a heart-breaking scene in the local market, but even that moment does not feel like a victory.  The course of his life has been altered.

While “The Scarlet Letter” gave us an indication of exile by community, this story shows us just how quickly human nature has us jumping to conclusions and assuming the worst. Persecution and judgment by the mob is one of the most dangerous developments of society. Lucas reminds us that innocence and faith may not always be enough and sometimes life just isn’t fair.

**NOTE: this is extremely serious subject matter handled in a very straightforward manner by a talented director and extraordinary cast.  There are a few touches of dark humor, but mostly this is just an intense, difficult to watch film.

watch the trailer:

http://www.youtube.com/watch?v=ieLIOBkMgAQ

 

2 Comments | Drama, Thriller, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

RENOIR (France, 2013)

May 10, 2013

renoir1 Greetings again from the darkness. Admittedly, I expect more from independent films since there is usually no committee of producers sucking the life out of the filmmaker’s vision. While writer/director Gilles Bourdos teams with Cinematographer Ping Bin Lee to deliver a film that carries the visual beauty of its subject’s paintings, it somehow offers little else.

Veteran French actor Michel Bouquet (acting since the 1940’s) captures the essence of a 74 year old Pierre-Auguste Renoir, one of the masters of the Impressionist era. By this time (1915), Renoir is in constant pain and continues painting despite his gnarled hands courtesy of severe arthritis. He has relocated to Cote D’Azur (the French Riviera) to live in peace with nature and the warmer weather … as well as his sons and 4 servants. His estate is gorgeous and provides the backdrop for many paintings. We meet his newest model, 15 year old Andree Heuschling (Christa Theret). Her spirit inspires not just Renoir the artist, but also his middle son Jean (Vincent Ruttiers), sent home to recover from his WWI injuries.

renoir2 Both father and son seem to objectify the beautiful and spirited Andree, neither being capable of an adult and equal personal relationship. The frustration with this movie stems from its unwillingness to offer anything other than observations of its characters. It meanders through days with no real purpose or insight. This despite having subjects that include one of the greatest artists of all-time and his son, who went on to become a world famous movie director. The story, if there is one, just kind of lays there flat, surrounded by beautiful colors and textures.

Auguste Renoir died in 1919, but earlier that year managed to visit the Louvre and view his own paintings hanging in the majestic renoir3halls. Jean Renoir married Andree and cast her in his first silent films (as Catherine Hessling). When the films flopped, they divorced. She went on to a life of obscure poverty, and he directed two of the greatest films in history: Grand Illusion and The Rules of the Game, both must-sees for cinephiles.

Alexandre Desplat provides another fine score, leaving us lacking only a story or point to the film. To learn much about Pierre-Auguste Renoir, it is recommended to read the biography his son Jean wrote.

my review of Grand Illusion

https://moviereviewsfromthedark.wordpress.com/?s=grand+illusion

my review of The Rules of the Game

https://moviereviewsfromthedark.wordpress.com/?s=the+rules+of+the+game

rare video of Pierre-Auguste Renoir painting (actual footage starts at 24 second mark):

http://www.youtube.com/watch?v=UA4pRAZQY3g

 

Leave a Comment » | Drama, World Cinema/Foreign | Tagged: , , , , , | Permalink
Posted by David Ferguson

KON-TIKI (Norway, 2012)

May 8, 2013

kon-tiki1 Greetings again from the darkness. Sometimes the dramatization doesn’t quite live up to the real thing. Thor Heyerdahl was a very interesting and interested man … part scientist, part adventurer. We first see him as a fearless 7 year old. As an adult in 1947, his spirit, stubborness and lust for life led him to undertake a 101 day trip aboard a self-built balsa wood raft. Why? Well to prove his theory that Peruvians settled in Polynesia in pre-Columbian times.

The film provides us shots in time as Thor does his research, presents his findings, tries to sell the story, and finally undertakes the “suicide mission” to prove to the world (and National Geographic). On the surface, the trip makes little sense. Thor can’t swim and only one of his crew has any sailing kon-tiki2experience. It makes for a thrilling trip and one which Thor actually filmed much of … with the purpose of producing a documentary. The 1951 documentary won the Academy Award and also led to a best selling book.

This latest version, co-directed by Joachim Ronning and Espen Sandberg, was Norway’s nomination for Best Foreign Language film last year (Amour won the category). While the story is fascinating and Thor Heyerdahl is certainly an interesting man, the film just feels a bit lackluster.  Pal Sverre kon-tiki3Hagen plays Thor and, at times, reminds a bit of Peter O’Toole in Lawrence of Arabia.  The film does offer fantastic effects (especially at sea), but we just get teased with the true personalities of his crew. A bit more depth of character would have added an element that elevated this to elite status. Instead, it’s very watchable and will probably inspire you to track down the book or the original documentary.

 

watch the trailer:

http://www.youtube.com/watch?v=rUnmjQJHRP4

Leave a Comment » | Action, Drama, World Cinema/Foreign | Permalink
Posted by David Ferguson

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