frankbannister-1 Reviews

Britannia Hospital (1982)

shocking satire about world collapse

[7/10 · 9 October 2005]

Lindsay Anderson was several years ago one of my favourite directors and then, 5 years ago, I thought that this film is possible his best. Since then I saw again Britannia Hospital at least five times - and it didn't worked always - in contrast Anderson's If..., which is better and better with every watching. However, Britannia Hospital is still a very good film, but its content maybe too disturbing for a lot of viewers. I mean, not only its details (for example, eating pieces of brain, by the way, didn't Hannibal - the movie - discover it), but the consequences of the whole film. This film's dark and painful thoughts about mankind and our future are very frightening, because they - if we can face it - almost (or entirely?) the reality. Although Lindsay Anderson's satire is focused on Britannia Hospital, where the most of the plot plays, this parabolic form is about the whole world: from the poor people to the rich, from the caretaker to the mad scientist. Britannia Hospital is full of moments of horror and black comedy (namely its subplot is parody/paraphraze of Frankenstein-story), but its strongest parts are when its laughing (or crying) on the figures of government and other leaders (the master of BH, the main strikers, even the Queen). The solution is Britannia Hospital - in a paradox way - there is no solution for mankind. Maybe the speech of the professor at the end is a little didactic, but at same time quite honest; but not he has the last world in the film. For those who have already seen this film, it is known, what I'm talking about; for those who are going to see BH, let it be a surprise. It's unforgettable, but extremely sad moment: a shocking last shot to Britannia Hospital.

Batman Begins (2005)

Batman is the "shadow"

[8/10 · 26 September 2005]

15 years ago, when I was a child, one of my greatest cinema-experiences was Tim Buton's original Batman (1989). Eventually I grew up with the Batman-world: not only the sequels but with the animated series (unfortunately the comics in Hungary wasn't distributed too long). I loved very much Burton's two Batman-films (especially Batman Returns), Joel Schumacher's Batman Forever was fine too, but not compare to Batman 1-2. But Batman & Robin was simply unforgiven, a bad joke, a disgusting travesty of Batman-mythology. Well, after that Batman slowly disappeared from my everyday - but every times were good, when I saw again Burton's films. I could just hope there will be a worthy return of the Dark Knight: and Nolan's film isn't disappointing at all. This is really the first Batman-film, where Batman IS the main character. In spite of there are a lot of villains and other roles, this film is definitely about Batman. So, Batman Begins not a prequel: this is a completely new beginning, a new start. First time, the criminals aren't more important than Batman himself. Nolan rehabilitates the hero not only by the narrative but the concept as well. There wasn't any piece of the original series, which would explain WHY Bruce Wayne chose the bat as his persona. Batman Forever tried to give a short answer, but it lacked any complexity or coherency. Thanks to Nolan and especially Christian Bale, we can see why BATman is born - and moreover, how. Earlier the filmmakers showed us a completed character, now we can see him in a mental and carnal progression. I think the most important idea in Batman Begins is that, Batman is the manifestation of Bruce Wayne's dark side, his "shadow". Carl Gustav Jung called the bad, unpleasant, regressive and destroying tendencies in ourselves as the "shadow" - well, Batman is literally the "shadow", but he is more than that, because Wayne uses him to good and justice. Batman Begins at the same time warnings us there is a little line between hero and executioner, justice and vigilantism - but we must know about the difference. So, the "new" Batman has a moral codex - not as, for example, Michael Keaton's character. This "moral codex" at the same time doesn't deny Batman-Wayne's mental and moral ambiguity. Anyway, there are a lot of didaxis in the movie, but maybe this is the consequence of the complex portray of the main character and his unusual problems. The new world of Gotham City is more hopeless and less characteristic than Burton's expressionist Gotham and the music - except for some themes - is less memorable than Elfman's were. On the other side, Batman Begins has the most massive and coherent narrative - so the dramatic progression is better than ever. Such as the whole film: even with its faults, Batman Begins: better than ever.

Sleepwalkers (1992)

abstract derivation of death

[6/10 · 26 September 2005]

Although Sleepwalkers is definitely not a good movie, it has something special that other films (including really good flicks) haven't. Until the half of the film, it's a weak monster-slasher-horror, nothing original or memorable. But approximately after the scene in the cemetery the film begins to work on a different level: then borns the spellbound of Sleepwalkers. This spellbound, I admit, is very bizarre or morbid - it's upon the power of the mother, which demonstrates the variability of death. I mean, when the film focuses on the mother's rage and desperate, the whole world of the film transforms into an abstract derivation of destroying, agony and death. This aspect of Sleepwalkers doesn't turns it into a great film but turns into a great experience - if someone can accept it. The worth of Sleepwalkers is upon this level, not the success of direction, cinematography etc. Anyway, the women are beautiful - not just Madchen Amick, but the elder Alice Krige as well; they both produces some erotic tension not only in the provocative scenes. The dance of Madchen Amick nearly the beginning, is very charming. So, if someone doesn't interested at all in horror movies, better to avoid this picture; otherwise, if someone would see a film which not necessarily good, but very interesting (even with its stupidities), I would recommend this.

The Verdict (1982)

autumn portray of spiritual resurrection

[10/10 · 26 September 2005]

It is hard to comment this picture because this is one of my greatest film-experiences, and although this film seems very simple - it is much more difficult than it seems. I think the most surprising in this picture is The Verdict is much more than a conventional courtroom drama: it's about a character's spiritual resurrection, or at least, the chance of the resurrection. From this view, Frank Galvin's final success is much more he could reach as a lawyer: it is the success of a man, who had to face with his past and, of course, his present which seemed hopeless. The Verdict's most powerful element is naturally Paul Newman's performance - maybe this role is the peak of his career and talent. His partners are excellent too, Charlotte Rampling, Jack Warden and James Mason. I like very much the works of Sidney Lumet, but sometimes irritates me, how much the characters speak in his films - namely this produces a little theatrical feeling what can be the disadvantage of films (for example, in an otherwise very good movie, Lumet's The Network). Well, in The Verdict the characters don't speak a lot, moreover there are a plenty of moments when they silence. This fact leads to beautiful pictorial compositions. I mentioned this film as an "autumn portray", however The Verdict plays in winter. I know, but the whole world of this drama is much more has an autumn character - with a lot of orange, red: Lumet and his talented photographer, Andrzej Bartkowiak consciously produced this feeling, they wanted to follow the style of Caravaggio's pictures. In the camera-work as well they had an artistic work: when Mickey (Jack Warden) tells Frank, what he knows about Laura's betrayal, we see this scene from long shot, without words, only the sounds of the street and the traffic - this is brilliant. But the final shot - when Frank is behind his table, and we don't know whether he will answer the phone or not - is simply unforgettable. To sum up, The Verdict is one of the most beautiful and artistic mainstream Hollywood movies: very highly recommended.