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chandos49
Reviews
Se, jie (2007)
Intense; erotic; exceptional!
"Lust, Caution" gets the NC-17 rating for very good reason. Not only are the sex scenes highly charged, they convey a progression of character development easily lost on the young.
The camera work is so effective in conveying mood, scene and narrative that it might go un-noticed if I did not wonder if I might write for film. Time and again I was stunned by the mastery of technique displayed.
The two leads are justly praised for their contributions: the one a welcome and familiar face, the other worth keeping in mind for the future.
This film might be favorably compared to the Dutch film "The Black Book," which takes place in similar circumstances. Where that involves betrayal on many levels and the protagonist survives with pluck and smarts, this is tightly drawn between just two people. Everyone else is subordinate to the central narrative of a young woman attempting to ensnare the most dangerous man in China at that time.
Not for the squeamish, nor for slow readers - as the subtitles must carry a lot of content sometimes - but definitely worth seeing for anyone with the drive to appreciate fine artistry, a taste for foreign and historic situations, and a humble appreciation for the price our hearts may pay to do what we believe in most.
Guys and Dolls (1955)
Marionettes on Parade
Guys & Dolls is a title any and everyone has heard of, if they pay any attention to the stage, and this show came out first on stage. I'd certainly heard the name, but knew nothing about it until the movie showed up on public television. I was disappointed. Every character delivers each line as if they'd just completed a course in Brooklyn elocution. They use slang and contractions with the precision of automatons. This makes the dialogue sound stilted, oddly artificial. The choreography and every gesture reflect the same wooden, inhuman take on life in the recent past (the film was made in 1955 and the story takes place during the Depression). Perhaps this approach lessened audience discomfort in identifying with card sharps, crap players, gamblers, the ignorant and shiftless. At any rate, I found it painful to watch and listen to. That's a shame, because I expected to enjoy Sinatra, Brando and all the rest. The tunes proved familiar. Take for instance, "I Got The Horse Right Here." I've heard it a dozen times over the years (I'm in my fifties) and had no clue it came from this show. It was easy to follow the three vocal lines, yet was hardly beautiful. Remember the scenes in Music Man, where the salesmen sing (speak) "He Doesn't Know The Territory" or when the leading town ladies do "Pick A Little, Talk A Little"? Multiple lines come through clearly,without sounding as if everything's overdone to make up for my lack of exposure to English. And they were performed beautifully. Maybe this is why I'd never bumped into this movie 'til now. If such things don't trouble you, by all means see it and draw your own conclusion.
I Am Sam (2001)
Credibly incredible.
I can hardly hope to say much that hasn't already been ably said about this film. It is difficult, deliberately wonderful and repulsive, heart-rending and -warming. So many components, so many good choices!
I only wish the actual Beatles recordings I grew up with were made available for this effort -- one of two flaws to one of the finest pictures I've ever seen.
The other flaw is the confusion/implausibility of the opening premise by which Sam finds himself holding the baby.
Nevertheless, once you get past that, the narrative and everything contributing to that narrative blossoms into a hugely compelling story.
Imagine that. All those superlatives I've used for a movie without car chases, explosions, combatants running thru bamboo tops, nudity, gunplay or swordplay. The protagonist is not rich and powerful, doesn't ride off into the sunset with a woman's arms wrapped around his waist...you get the picture.
Whether or not you get the picture yet, get your hands on this picture. It far exceeded my expectations, touching me at a depth and to a degree very rare.
To End All Wars (2001)
Excellent themes, skilled acting. Yet it's pretensions offend the discerning.
"To End All Wars" came to my attention via a friend in Youth With A Mission, the organization that is a major player behind it's making.
The first half of the narrative is well done, as are many aspects of the latter half. Unfortunately, the screenwriters don't give their viewers enough credit. No one with the savvy to appreciate, or at least recognize, the comparison of Jesus' ethic of unconditional love to the ideals of Bushido needs bludgeoning with a recapitulation of the Gospel as was done in the coda to this film.
The story is so well done, the themes so clearly delineated, the principal roles so thoroughly identified with those themes - let the story tell the story! It's not hard to draw any conclusions for those so inclined.
There is a line in one of the letters from the Apostle Peter: Be ready to answer anyone who asks about the hope you cherish in Jesus Christ. One of the great themes (if not the foremost theme) in this film was that of earning the right to be heard.
I wish the screenwriters paid closer attention to their craft and followed suit. This could have been a great film.
Billy Elliot (2000)
Jagged As A Chunk Of Coal: No Smooth Edges
Perhaps you're surprised to see me score this no more than 5 stars. I admit, I came to this film expecting to be wowed. I found it uneven in the extreme.
The performances by Jamie Bell (Billy, the kid), Gary Lewis (Jackie, the Dad), and Julie Walters (dance instructor) in acting are very good, and Jamie's dance routine has all the verve and lack of polish one might hope to see in a novice dancer with raw talent.
Raw, maybe that's it. The language was hardly what I'd wish to expose my children to, although I understand how a Brit swears better than most Yankees. It was appalling and ubiquitous.
The soundtrack nearly drove me away. One must listen closely to the poorly miked dialogue, which is heavily inflected with the Lower Scots influence of the northern coalfields. Suddenly we're nearly blasted out of the room by pop tunes, as thumpy in their delivery as they are redundant in their lyrics.
I found myself wondering why the screenplay didn't convey more of the attraction to Billy of the power and beauty of dance. I can think of half a dozen ways that might be accomplished. If I can do that, why not those responsible for producing/writing/directing it?
Then there are the blithe bawdiness of "Debbie," the repressed daughter of the dance teacher, and the confused and pitiful antics of "Michael," "Billy's" buddy. These blur the focus of the narrative rather than sharpen it.
If you haven't yet seen this, be prepared for some shining parts to an otherwise lowbrow approach to the lure and reward of the arts.
Malèna (2000)
"The voice of the people is the voice of God!" Really?
The quote above comes from the English subtitles of this movie. I imagine it is a correct rendering of the Italian at that point.
If anything, the voice of the people represents all the reasons they (and I) need a Savior, for the voices are of lust, envy, malice, condemnation without provocation, and deceit when apology and recompense were the only appropriate responses.
The name Malena is a diminutive of Maddalena, which is more familiar to us as Magdalene. Tradition says Mary Magdalene had been a whore before encountering Jesus Christ. She has been portrayed as a paragon of beauty in fine art down through the centuries. Such a background would be familiar to most audiences in Italy (and Sicily!) who've watched this movie.
So, part of the subtext of this narrative is that one's name is destiny, the sort of conclusion easily reached by the unperceptive and unloving. In the case of Mary Magdalene, if the tradition is true, she would bear her name proudly as one whose bitterness of experience was redeemed by the only One Who loves with absolutely pure motive. In the case of Malena, the unanimous force of public sentiment forced her into a corner and then blamed her for the result she resisted.
Set and shot in Sicily, the time line runs from Mussolini's declaration of war through the year after the Allies retake Sicily. The camera angles used convey the larger forces at work surrounding, and working within, the inhabitants of "Castelcuto" (actually Siracusa, on the east coast of the island).
Monica Bellucci's task, so early in her career, was enormous in this role and handled adeptly. Giuseppe Sufaro, as the youngster who lusted after her and came to love her, is similarly impressive.
The weak point in the narrative is the role of Malena's father. He is portrayed as profoundly deaf and a master of Latin. Students continually ask him lewd questions, to which he readily assents, with the apparent assumption they are only asking permission to use the water closet. Would a man so sharp in the nuances of Latin have no inkling of body language, nor be unable to lip-read?
My dear departed grandmother was no scholar, but she lip-read my words from across the room. Also, when I was caught stealing cookies she'd baked (the first time I stole as a child) she at first refused to believe I'd done it. It was so out of character for me. Similarly, should not the Professor have resisted an anonymous accusation about his daughter? Everything in the film indicated Malena to be a faithful and devoted daughter and wife. To have her father fly off the handle as was done in this story reveals the only blind spot in an otherwise thoroughgoing vision.
And visionary may be the best descriptor of this film. Malena is a moving example of the maxim, "Of those to whom much is given, much is required." Exceptional beauty, wealth or talent exact a price upon anyone so blessed. The horror is not so much what Malena suffers at the hands of her neighbors (although enough to make a grown man cry) as the base motives animating those neighbors.
Maybe that's why I identify so well with this movie. See for yourself if you don't do the same.
Un long dimanche de fiançailles (2004)
The "War to end all wars" interferes with a great love story.
This film is exceptional. The cinematography, screen play, acting, pace, handling of themes, the juxtaposition of horrific warfare and the sweetness of young (and true)love make it one of the best films you can view.
Be forewarned. The battle scenes are hideous, gut-wrenching, as they should be. Some of the characters are the kind you love to hate while others are hard to hate despite (or because) of their personality quirks.
All too often "Jerries" are depicted in films as crazed and arrogant in their Aryan pipe dream. Not so in the even-handed characterizations of "A Very Long Engagement," where folks are folks, handy or useful as well as tweaked in some area of life.
Combining a love story, documentary and mystery in one cover is a tall order, but that is just what we find here.
As may be expected in a French film, there are several scenes of sensuality. Not surprising, nor does it detract from the overall narrative. As a Christian, I only wish true love were more often equated with the confidence in one another that can develop from chastity before marriage, and presented accordingly. Such a take would strengthen the bond between these lovers, and make Mathilde's hope the more believable.
The palette of colors used in contrasting the scorched earth of the trenchland with the Vermeer-like ambers of Mathilde's farm life is highly effective. And, they prepare you for the saturated colors in the denouement.
All in all, this is a film worthy of your attention.
The Ladykillers (1955)
Bright performances in a dark comedy
What a marvel this film is, with stellar performances by great actors at very different points in their careers. Alec Guinness is every bit as quirky and disconcerting playing "Professor Markus" as Katie Johnson is serene and naive in the role of Mrs Wilberforce.
Apparently, this film marked the debut of Peter Sellers. Guinness was in full stride in the middle of his brilliant career and dear little ol' Katie Johnson received the BAFTA Best Female Actress for this role only to die in 1957.
Dark? Yes. Funny? You bet. Slapstick? Only occasionally. However, the screenplay is fabulous, justly receiving the BAFTA award for that category.
I had seen a review of the recent remake in which this, the original, received endorsement. Am I glad I followed that recommendation! You will be, too.
The New World (2005)
Timeless beauty surrounds the most violent change.
This film proceeds at a pace many viewers would find slow, but I believe the intent behind that pace conveys the AmerIndian mindset of living fully in the present, of small regard for the passage of time. Our present culture, in contrast, focuses heavily upon the immediate future and what is new. We need to adjust our expectations accordingly in order to better appreciate the amazing accomplishment of "The New World."
This screenplay is more evocative than narrative, which works well in illustrating barriers in language, while the motives, experience and relationships we all hold dear - no matter what our circumstance or culture - shine through.
Although the screenplay streamlines the story of Pocahontas, it nevertheless presents a tribute to this remarkable woman. Her life bore tremendous significance at an age in life when many of us haven't yet learned to drive.
When I consider Miss Kilcher was only 14 during the filming, her achievement in this role is nothing less than astonishing.
Take the time to savor and ponder this film. We're all the better for it.
King Arthur (2004)
A film replete with misconception, ignorance and tedium.
Yes, I gave this only three stars. Why? Because the filmmakers seem to have lost sight of presenting the average film-goer with an engaging story or attempting to portray Arthur more plausibly.
This last point rankles all the more since the opening text implies archaeological support for the story that follows.
Anachronisms, or just plain cheap shots: Steel swords among the northern tribes of Europe at the height of the Bronze Age; a Harris Hawk - from Mexico, no less - when a score of birds utilized in Eurasia could have been had. Why not a Goshawk, Gyrfalcon, Golden Eagle or Eurasian Kestrel? Germanic invasion from north of Hadrian's Wall, when history shows Anglo-Saxon mercenaries were invited to Kent (closest to France and farthest southeast from the Wall) expressly to combat invasion by the tribes the Wall was intended to contain. This, by the way, occurred decades after the Roman evacuation. The mercenaries invited their cousins and they turned on their employer, eventually displacing Celtic kings as far as Wales and Cornwall; Arthur as an innovator of democratic ideals when both Celtic and Nordic practice of assembly and voting predate this story line by centuries; Greek Fire; crossbows; the chief of the army left to fight alone in the field of battle - any reading of old English texts displays the borrowed glory of fighting and dying at the side of the chief; Christianity demonized repeatedly.
At least Arthur is portrayed as actually praying. His heartfelt cries to God are the real stuff of prayer, for my experience has shown hope stands where understanding falters.
This film desperately needed variety, its air of tension and menace was hardly relieved by the pointless and poorly prepared seduction scene. Are we to believe Guenivere (by whatever spelling) expected to persuade Arthur to love her land and people by offering him her body? The battle scenes could have had greater impact if they were balanced by scenes of hilarity and bonhomie: witness the range of emotion and tone of "Gladiator" and especially "Master & Commander."
Fortunately, the dialogue is so tedious this movie may do less damage in reinforcing ignorance than we find in "Gladiator" or "Braveheart." For in one we find Caesar engaged in single combat with a gladiator on the Colosseum floor (yeah, right) and in the other Wallace is seduced by Isabella of France (never mind the implications for the head of a queen consorting with a rebel, nor the 4 children she bore to Edward II, including Edward III).
The considerable talents of Keira Knightley hardly persuade me to recommend this film to anyone. She shines more brightly in plenty of other films already. Ioan Gruffudd (nice use of Welsh) is worth looking for in other efforts, as well.