theachilles Reviews

To Joy (1950)

"There must be a meaning. If there isn't you make one up. Otherwise you can't live."

[7/10 · 20 January 2007]

Stig and Marta are two young musicians playing together in a Swedish orchestra. They meet, they fall in love and they get married. If this synopsis leaves you expecting a romantic film, you'll be disappointed to find out a rough, realistic, yet very sentimental piece of art.

In this film, Bergman uses a quite interesting storytelling method that works really effectively. Although the way their marriage ends is revealed to us in the opening sequence making the rest of the film a flashback (a technique with which Bergman is already familiar with), when the movie reaches its final scene, one can't help but be extremely moved by the way things end up.

Once again, the performances are great and it is clear that these actors open up their own private world for all of us to see, and they can do that simply because they feel comfortable with a director like Bergman. They know they are in safe hands. Victor Sjostrom definitely steals the show (and Bergman will work with him again in Wild Strawberries), but it is the face of Maj-Britt Nilsson (Marta) that will remain in your mind for a long time.

Already in these early films of his, the Swedish master shows his love for close-ups. He likes to diminish the distance between the audience and the actors, especially their faces, sharing the belief that not only their eyes, but also the texture of their skin can reveal to us a whole lot of things about the characters. After all, close ups are one of the great advantages of cinema that have ultimately become one of the most characteristic building blocks of this art form, and Bergman working simultaneously in the theatre, is very much aware of that. Although the extreme close ups are easier to notice and admire, Bergman has also a great arsenal of shots and camera movements that so easily uses in this film. The shots of the orchestra performing either from high above or through the musicians, shows a camera that can move constantly but also in a discreet and, one could say, abstract way. He also proves to be very capable with mise-en-scene, as deep-focus long takes are used in several scenes.

The use of music is also notable, as you will definitely see for yourselves in the remarkable montage sequence in the ending. Classical music is of course common in the director's filmography, but it follows certain stages that are worth mentioning. In his first period, in which "To Joy" is definitely included, Bergman uses pieces performed by large orchestras, grandiose in a way. And it's certainly no coincidence that in these films, a great number of characters are used for narrative purposes (surely Stig are Marta are in the foreground, but there's also the conductor, Sonderby, the mistress and her old husband, Marcel and a few others). But from early 60's on, begins a period in which Bergman uses music of a smaller scale (especially string quartets) and in these films very few characters are introduced to us and, very often, in an isolated place (e.g. Through a Glass Darkly, Silence, Persona).

If you watch carefully this film, you will see many signs of what Ingmar Bergman is going to evolve to. His dramatic approach in human relationships and his effort to capture those moments between two heartbeats, between two lovers. But also his realistic point of view, especially when it comes to marriage (as Scenes From a Marriage a good 20 years after will confirm). A very good film.

Port of Call (1948)

"We can always try to forget our past"

[6/10 · 19 January 2007]

While Gosta, a seaman, arrives in Gothenburg, a young girl, Berit, makes a suicide attempt in the city harbour. After saving her, a rather promising relationship seems to begin but much work needs to be done from both of them in order to be together.

In 1948, Ingmar Bergman seems already familiar with the themes that he will never stop examining throughout his career. He observes and studies human behavior in everyday circumstances, in an effort to get a glimpse of its roots. Berit is depressed, but her situation has a long story, starting from her childhood. Growing up with a mother that never cared for anything and anyone but herself and a father that had a problem hiding his temper, she ended up in a reform school and the implications are therefore predictable. Gosta has just finished working in the ships and he finds himself working in the docks of Gothenburg, despite his ambition for something bigger. They are both in the need of a clean start in their lives, carrying their burdens from the past on the left and their dreams for the future on the right.

When they first meet, they can't possibly imagine how similar they are. In fact, they seem incapable of realizing anything because of the wall they have built around them in order to protect themselves. But she desperately needs to free herself from her mother (who impersonates all of her past) and he desperately needs to find someone to relief him from his loneliness. So, they will fight through all the difficulties for these goals. Eventually, she will learn to have some faith in other people, he will learn to forgive and they will both learn to face the past.

This film also works on a political level as the story takes place among the dock workers struggling everyday just for the essentials. Bergman himself admits the influence that the Italian Neo-Realists had on him in his first films and Port of Call is a characteristic example. It is mostly shot on location and the work in cinematography is really admirable, the black and white photography and the camera movement is stunning and Bergman proves how talented he is when it comes to framing. The leading actors give notable performances, especially Nine-Christine Jonsson.

Overall, Port of Call is an interesting film, a typical example of the first period in Bergman's filmography that will reach its climax with "Summer with Monika". The story may sound clichéd and naïve at times, but it is its honesty that engages its viewers, as well as the masterful shots of the great Swedish director.

Lucky Number Slevin (2006)

Average

[14 August 2006]

I have no doubt that the filmmakers had great expectations about their creation. They may have thought they were delivering a new "Pulp Fiction". And I'm not making just a random reference here, since "Lucky Number Slevin" is a classic example of the disaster Tarantino's success has brought in cinema. Every year, dozens young filmmakers come out with a straight recipe of copying the Tarantino's filmic universe (that is, if we accept the existence of such a universe after a very short – so far- career of the man). However, in this particular film we shouldn't blame only the director, Paul McGuigan, who had after all warned us for his limited potentialities since his previous film "Wicker Park", where one could easily see the absence of a personal style and his tendency in stumbling in front of weak choices from the scriptwriter. Once again, a great deal of responsibility for this hollow film should be "recognized" to Jason Smilovic, who wrote the screenplay. When Tarantino made the choice of using everyday dialogue and scenes that until the dawn of the 90's the rest filmmakers would leave out without any second thoughts, he made it with a certainty. The certainty that was given to him, first of all from his wide ranged knowledge on cinema, and also from his contact with literature – more particularly with contemporary American novels from which he has borrowed his famous narrative techniques and devices. And this fertile dialogue of mediums, combined with Tarantino's intelligence, created a very distinctive signature, both on the grounds of subject and style. And "Lucky Number Slevin" lacks all these.

Someone could argue that McGuigan also starts a dialogue with cinema - Tarantino's cinema. But it's more than obvious that he hasn't got neither the talent nor the knowledge needed, so he just copies. The characters speak in between their troubles about their favorite films or about super heroes (sounds familiar?). And when we are presented with original lines, they aren't much superior than this: "I'm a world class hit-man", Bruce Willis says in one of the worst moments of his career. And that's too bad, because of the excellent cast including Morgan Freeman and Ben Kingsley, who little can do to save this mess. As leading actor, Josh Hartnett who also starred in "Wicker Park" and who Hollywood systematically promotes with no obvious reason, not even after this film (waiting for "Black Dahlia" from master Brian DePalma). So, "Lucky Number Slevin" is indeed a well made film, but one made by craftsmen. But cinema is art, not craft, and more than a hundred years after its birth, it shouldn't feel the need to prove it.

The Interpreter (2005)

good film. Just that!

[7/10 · 16 April 2005]

Sidney Pollack, Sean Penn, Nicole Kidman. It sounds like a dream team, doesn't it? Yeah, it does. Do they rise up to our expectations? Well,I must say that the film doesn't disappoint. Tight plot, great direction, a magnificent Sean Penn and I guarantee that you 'll be entertained. But that's all there's to it. You'll like it (I especially enjoyed its sarcasm towards US foreign policy and the role of UN), but you'll forget it sooner or later. I expected one of the best films of the year, but that wasn't the case!! In fact, most of the people left the theater disappointed. I can understand why, but I don't agree with them. Pollack has a lot of experience in the genre and that is more than obvious. There's a climax in the film and it has some very strong emotionally speaking scenes. A very interesting hint: watch every sequence with Nicole and Sean. He doesn't even have to try to make her disappear from the screen!!

Worth watching though!! 3 out of 5

Girl with a Pearl Earring (2003)

Vermeer, his servant and a painting

[7/10 · 29 November 2004]

In Holland of 17th century, a humble girl named Griet (Scarlett Johanson) works as a maid in the house of the famous painter Johannes Vermeer (Colin Firth) and somehow contributes into the creation of a masterpiece.

The film, just like Tracy Chevalier's book on which is based, narrates an imaginary story about who and what inspired Vermeer and led him make the "Girl With A Pearl Earring" painting. Few things are known about the personal life of Vermeer. He died at 43 after making 35 paintings and having 11 children. More than any other of the Dutch painters, he analyzed the effect natural light had on a room and on a face, something that influenced visually the film as well.

It seems inevitable that the first thing everybody notices about this film is the stunning work done by the director of photography Eduardo Serra (ASC, AFC). The colors, the lightning, the surrounding environments create a harmony and every frame of the movie cries out for you to watch it and admire it. According to the cinematographer, he didn't want the film look like a collection of Vermeer's paintings because something like that could possibly distract the viewers from the story. Well, unfortunately for him (but not for our eyes), he didn't manage it.

Although there are very few dialogues, the script achieves to be multi-leveled. Initially, it can be seen as a commentary on artistic inspiration. But there's much more in it. Griet intrudes into Vermeer's universe. She is the catalyst that makes things upside down in the household, in a very silent way - much unlike the lead character in Pier Paolo Pasolini's "THEOREM" (1968). Griet has an inner energy that captivates the painter. She doesn't end up to be just a model for him, she becomes something more. The relationship between the artist and his subject becomes deeper and deeper as Vermeer gets obsessed with his servant. Obsession plays a very important role in the story. Let's not forget that Vermeer lived in a household full of women and the only way to concentrate on his art was by having carved out his very personal space in the house. Neither his wife, nor his mother in law or his children were qualified to enter there. But Griet manages it and there are many scenes that prove her understanding of Vermeer's art.

While most films should have a tighter job in editing, this one has the exact opposite problem. Its small duration may make it watchable, but the characters seem to suffocate. They could be far more developed, but the lost ground is covered by the liaisons created among them. Griet is totally charmed by her master. She admires him as a personality, as an artist and of course as a man. But not even a moment does she forget her background and probably she ends up with Peter, the butcher's son who from the very first moments showed his feelings about her - a rather perfect match. Vermeer's thoughts are more complexed. He somehow also admires Griet, mainly because of her esteem on art. But his obsession with her is not based on erotic or sexual grounds. We can see that he's loyal to his wife, but he just does what he has to do in order to serve his art. On the other hand, Van Ruijven, who is Vermeer's family's patron is presented as a rich and lecherous old man. He knows Vermeer's desperation for money and tries to take advantage of the growing intimacy between the master and the maid that seems obvious to him. Last but not least, it must be said that in Vermeer's house, light is a character of itself. It becomes brighter and more colorful as Griet evolves from a maid to his model.

There is a strange chemistry between the lead actors, but not very successful. Firth is undoubtedly a limited actor and although he tries his best, it is not enough for such a challenging role. Johanson is surely more talented and her body language and face expressions are captivating. However, many times in the film we have the sense that she repeats her performance in "LOST IN TRANSLATION", especially in scenes where not too much is shown, but many are implied. So, the room is empty for Judy PArfitt to make another excellent performance and build in a great way her character. Peter Webber is just another director and here he's doing a better job than usually, mostly because of the materials he had in his hands. You can't distinct the director's personal touch throughout the film and that's not a good sign. My Grade: 6.5 out of 10

The Dreamers (2003)

A romantic confession of a great filmmaker

[8/10 · 1 August 2004]

Paris, May 1968. Revolution breaks out and the world seems to be in a critical turning point, but inside the four walls of an apartment, three youngsters experience their very own revolution.

Yes, it's true. In the year 2004, one of the best cinematic experiences is offered by Bertolucci. Many are those who'd thought that he had nothing more to give, but with THE DREAMERS, the creator is reborn and next to his heroes he witnesses again the passage from adolescence and innocence to the age of responsibilities. A great fan of cinema himself, he doesn't hesitate to pay a number of tributes, just like Godard used to do in the past and Tarantino very recently. As he puts his view into the eyes of his protagonists, the girl and the boys seem to live inside the movies they adore. They're playing with lines from known films, they imitate characters, they put themselves into the sequences they love.

Despite their young age, all three actors not only do they show that they're worth of starring in a Bertolucci film, but they also go even further giving in every scene the necessary vividness and realistic tension. Ignoring the cosmogony taking place in the streets, they surrender to their own cosmogonic changes, to the wild sexual awakening, to the game between friendship and love, pleasure and pain. Eventually they commit themselves to the struggle between the game itself and real life. And that's where the heroes violently return in the thrilling final sequences in order to face their duty towards history.

THE DREAMERS is by far one the best motion pictures of the year, so daring but at the same time so energetic that seems able to touch anyone as a pure and romantic confession of a great filmmaker.

Lost in Translation (2003)

The Coppolas still delivering the goods?

[6/10 · 12 June 2004]

A middle-aged actor, with his career in its downs, finds himself in Tokyo for the shootings of an advertisement. There, he'll meet a just-married girl, who left everything back in the States in order to support her photographer husband.

It seems as Sofia Coppola is trying to prove from the very beginning of her career that she has far more talents than her famous last name. After the almost autobiographical Suicide Virgins, she comes up with a story that is a model for our era. And this is the era of easy solutions, of emphasizing on body pleasures and on the unconditional expression of feelings. She is dealing with a love story that many people would think that has never existed, just because there weren't any physical proves. But if there's a reason that makes this movie so special, is exactly because it portrays all these things that would never happen in front of our eyes, the things that no one would say, but all of us feel in the inner part of ourselves. Inside one of the most crowded cities of the world, our heroes feel more lonely than ever before. They find on each other the compassion they seek, not just because of the same language, but because they share something deeper. They both are face to face with life's choices. It doesn't matter that she's in the beginning and he's in the middle of the course. The circumstances are the same.

Although Coppola is touching perfection as far as the script is concerned, from a directorial point of view she's unable to cover certain weaknesses. In its biggest part, the film is nerveless and the few emotional breakouts of the plot aren't followed with intense scenes. However, these weaknesses are well-hidden thanks to an astonishing Bill Murray. The way he combines a psychotic comic personality and a gloomy tragic character in the same role is admirable. Johansson also shows that she has a lot to give in acting, as long as she continues with the series of great choices that has so far made.

Lost In Translation, without coming up to the unprecedented reaction that the movie spawned to critics all over the world as it ain't The motion picture event, it can easily excite the viewers with its melancholy, humour and lyricism.

Kill Bill: Vol. 1 (2003)

Here comes the bride

[10/10 · 24 January 2004]

Quentin's back after a long long time. And he delivers the good. This time the story is quite simpler. So what's all the buzz? The film is so directed. Shattered narration, black and white sequences, animation scenes! This time is the action that plays the ball and not the dialogues. And Quentin did it again. With an incredible soundtrack and astonishing performances by all the actors, KILL BILL is a masterpiece that MUST be seen. Follow the bride to her roaring rampage.