by Sam Juliano
After Halloween was taken from us by a wrathful Mother Nature and the northeast has come back from a month of grief and deprivation, those of us in the blighted areas will still join the rest of America in celebrating Thanksgiving on Thursday. Turkey Day, which normally gets relatives together for that all-too-rare annual occasion, always signals the beginning of the holiday season, and the buying of gifts and home decorating. Here at Wonders in the Dark, the staff wishes all those celebrating the holiday stateside and overseas to have a peaceful and enjoyable day. Moderation is always the best policy of course, and a brisk walk could do wonders between watching the Detroit Lions and Dallas Cowboys strut their gridiron prowess.
Late November also means the best part of the movie season is upon us. Still to come in addition to the films seen during the week covered by this MMD, are Amour, Rust and Bone, Les Miserables, The Hobbit, Hyde Park on the Hudson, The Life of Pi, Zero Dark Thirty, Django Unchained, Hitchcock and The Promised Land. Those attempting to compile the foundation of a year-end Ten Best List will find the exercise most frustrating until the table is run with the imminent openings. It does seem at this point though that films like The Turin Hose, Holy Motors, War Witch, Oslo August 17th, Monsieur Lazhar, The Kid with a Bike, The Deep Blue Sea and Lincoln will be hard to keep off the final shortlist. But that’s eight, so there would be only two more openings, so a revamp seems inevitable.
Hope some of you had had a chance to check out Jaimie Grijalba’s new site “Overlook’s Corridor” whose title homages Stanley Kubrick’s celebrated 80′s horror film (http://overlookhotelfilm.wordpress.com/) . Jaimie takes a look at the 1990′s in an irresistible post that lobbies for individual lists. Joel Bocko has officially launched his new site “I lost It At the Movies” which is a kind of extension of “The Dancing Image.” It’s a place any serious moviegoer won’t want to be without! best Wishes to our good friend and colleague!Dee Dee, Lori Moore and Barbara La Motta continue to promote the “John Garfield petition’ on a page easily accessible under the actor’s photo on the sidebar. The long-running ‘Comedy Countdown’ enters the final stretch, with the top finishers and what are surely to be the greatest reviews of all just around the corner. The venture has been an astounding success, what with page views and reader comments being added at a spirited pace day in and day out.
Over the past week Lucille and I (and the boys for a few; Broadway Bob for the Friday and Saturday features) saw:
A Late Quartet **** (Tuesday night) Montclair Claridge Cinemas
Silver Linings Playbook *** (Friday night) Angelika Film Center
Anna Karenina ** 1/2 (Saturday night) Lincoln Plaza Cinemas
The Mark of Zorro **** (Monday night) Fairbanks at Film Forum
Although lacking the handsome production values of the later versions of the timeless story, the 1920 Douglas Fairbanks Sr. version, THE MARK OF ZORRO brings together imaginative duels and chases and features the rousing swashbuckler at the peak of his physical powers and charismatic flamboyance. There’s a marvelous strain of humor, and Steve Sterner’s spirited piano accompaniment made for a terrific opening night of the Film Forum’s Douglas Fairbanks Sr. Festival. There are some great individual moments David O. Russell’s highly-regarded SILVER LININGS PLAYBOOK, and Jennifer Lawrence in magnificent in her quirky role that is destined to awards, but the film is sometimes over-the-top and strained, and there’s far less magic in Bradley Cooper’s performance. Robert DeNiro as a Philadelphia cheese steak and Eagles fan is as always earthy and appealing, but the film is oddly uneven and bereft of a deeper context. But Lawrence alone if the reason it must be seen. Joe Wright’s ANNA KARENINA is narratively inert, and unable to make some of teh arresting visuals and Dario Marianelli score amount to much more than ultimately irrelevent components. The acting by Keira Knighley and others is impressive enough, but this one never establishes any kind of dramatic urgency. A LATE QUARTET features Christopher Walken, Phillip Seymour Hoffmann and Catherine Keener in superlative performances as members of a string quartet bonded despite some serious domestic issues that threaten to permanently dispand the group. The film weaves a resonating emotional spell.
I also got to see LINCOLN and SKYFALL for a second time with hot to trot friends. LINCOLN actually got even better, and Day-Lewis once again offered up a master class of acting. Spielberg avoided sentiment to offer a realistic look at one of history’s most beloved figures. Sally Field and Tommy Lee Jones are unforgettable as well.
Most of the links are new:
Bradley Cooper and Jennifer Lawrence in David O. Russell’s “Silver Linings Playbook”
Samuel Wilson at Mondo 70 has authored an epic treatment of Spielberg’s “Lincoln,” one in which he heaps considerable praise on: http://mondo70.blogspot.com/2012/11/on-big-screen-lincoln-2012.html
At The Cooler Jason Bellamy has also written a masterful essay on “Lincoln”, one in which he presents a highly critical view: http://coolercinema.blogspot.com/2012/11/a-film-divided-lincoln.html
At Twenty Four Frames John Greco has posted a fantastic review with author David Koenig: http://twentyfourframes.wordpress.com/2012/11/16/interview-with-author-david-koenig-2/
Judy Geater’s superlative esssay on the little-seen “Angel” by Ernst Lubitsch at Movie Classics is a must-read for cineastes: http://movieclassics.wordpress.com/2012/11/05/angel-ernst-lubitsch-1937/
At Ferdy on Films Marilyn Ferdinand has penned an extraordinary review of Hitchcock’s 1924 silent “The White Shadow” that’s a must of film fans and preservationists: http://www.ferdyonfilms.com/2012/the-white-shadow-1924/16572/
Laurie Buchanan’s latest post is a glorious report on her Mexican trip, where she epoke at the First Annual Wellness and Spirituality Expo in San Miguel de Allende.
http://holessence.wordpress.com/2012/11/13/casa-center-for-the-adolescents-of-san-miguel-de-allende/
Tony d’Ambra leads the way at Films Noir.net for a terrific piece on the little-exposed Italian noir ‘La Bionda’.
http://filmsnoir.net/film_noir/la-bionda-the-blonde-italy-1992.html
Jaimie Grijalba has officially launched his fantastic new site “Overlook’s Corner” with a buffo piece on Chilean cinema: http://overlookhotelfilm.wordpress.com/2012/11/18/chilean-cinema-2012-12-miguel-san-miguel/
At Cinemascope Shubhajit Laheri has authored a fabulous, thought-provoking capsule review on Leon carax’s masterful “Holy Motors”: http://cliched-monologues.blogspot.com/2012/11/holy-motors-2012.html
Murderous Ink at Vermillion and One Nights has written a wholly fascinating essay on anew volume about Japanese acting icon Setsuko Hara, who is still living at age 92 in relative seclusion: http://vermillionandonenights.blogspot.com/2012/11/all-about-setsuko-hara.html
Dean Treadway’s new post “Cinema Gallery: 30 Scenes of Loneliness” is essential for all passionate film lovers. It’s over at Filmicability: http://filmicability.blogspot.com/2012/11/blog-post_6.html
At the magical Creativepotager’s blog Terrill Welch has a showcase of visual treasures up in her ravishing new post “New Homes for art and other studio musings”: http://creativepotager.wordpress.com/2012/10/08/new-homes-for-art-and-other-studio-musings/
Jon Warner leads the way at “Films Worth Watching” with his terrific WitD comedy countdown review of Lubitsch’s ”To Be or Not to Be”: http://filmsworthwatching.blogspot.com/2012/11/to-be-or-not-to-be-1942-directed-by.html
Pat Perry has penned eight splendid capsules of a wide array of films she’s seen recently at Doodad Kind of Town: http://doodadkindoftown.blogspot.com/2012/09/the-catch-up-post-little-bit-about-lot.html
History teacher Hokahey has written a marvelous, thought-provoking review essay on “Lincoln” at Little Worlds: http://hokahey-littleworlds.blogspot.com/2012/11/the-morning-of-vote-spielbergs-history.html
Joel Bocko offers up a fascinating conversation with Bob Clark on “Neon Genesis Evangelion, Episode 3″ at his wonderful new site Lost it at the Movies: http://thedancingimage.blogspot.com/2012/11/neon-genesis-evangelion-episode-3.html
Ed Howard has penned a master-class essay of the sublime Powell & Pressburger opera film “The Tales of Hoffmann” at Only the Cinema: http://seul-le-cinema.blogspot.com/2012/11/the-tales-of-hoffmann.html
Sachin Gandhi offers up a fabulous report on the Calgary Latin Wave Festival at Scribbles and Ramblings: http://likhna.blogspot.com/2012/11/calgary-latin-wave-festival.html
David Schleicher has authored a magnificent essay on the new James Bond movie “Skyfall” at The Schleicher Spin: http://theschleicherspin.com/2012/11/15/i-fall-you-fall-we-all-fall-for-skyfall/
Weeping Sam offers up a quietly powerful Ezra Pound poem for Armistice Day at The Listening Ear: http://listeningear.blogspot.com/2012/11/armistice-day-poem.html
A treasure trove of priceless reviews and listings can be accessed on the pages of The Last Lullaby, director Jeffrey Goodman’s indispensible site: http://cahierspositif.blogspot.com/
Dee Dee offers up petition co-founder Lori Moore’s own take on a John Garfield classic over at Darkness Into Light: http://noirishcity.blogspot.com/2012/09/john-garfield-in-nobody-lives-forever.html
Roderick Heath offers an excellent review of Oliver Stone’s latest film “Savages” at Ferdy on Films: http://www.ferdyonfilms.com/2012/savages-2012/16614/
R.D. Finch has written a splendid essay on 1965′s “The Spy Who Came in From the Cold” at The Movie Projector: http://themovieprojector.blogspot.com/2012/10/the-spy-who-came-in-from-cold-1965.html h
Kaleem Hasan offers an engaging post at Satyamshot titled “Shahrukh in Conversation with Yash Chopra”: http://satyamshot.wordpress.com/2012/09/27/shahrukh-in-conversation-with-yash-chopra/
One of the net’s finest writers, the exceedingly talented Jason Bellamy has written a fantastic essay on Paul Thomas Anderson’s “The Master” at The Cooler: http://coolercinema.blogspot.com/2012/09/touching-void-master.html
At Patricia’s Wisdom our friendly host has penned a terrific book review of “Televenge”: http://patriciaswisdom.com/2012/11/televenge-pamela-king-cable/
The comment section under Kevin Olson’s superlative essay on “The Master” at Hugo Stiglitz Makes Movies makes this presentation a must read for film fans: http://kolson-kevinsblog.blogspot.com/2012/09/the-master.html
At the Coffee Messiah’s blog the indominable Michael Harford features a collage on cultivation: http://coffeemessiah.blogspot.com/2012/09/cultivate.html
Craig Kennedy has penned at terrific review on “Frankenweenie” at Living in Cinema: http://livingincinema.com/2012/10/05/frankenweenie-2012/
Stephen Russell-Gebbett has posted another thought-provoking piece, this time on 2010′s “Burning Bright” at Checking on my Sausages: http://checkingonmysausages.blogspot.com/2012/09/burning-bright-2010.html
David Lawrence, thjat erudite and personable educator from the U.K. features a poster of a Hammer classic at his new site Musings and Meanderings: http://1mouth2ears.wordpress.com/2012/08/12/movie-posters-1-dracula-has-risen-from-the-grave-1968/
Brandie Ashe happily announces a “Singin in the Rain” giveaway at True Classics: http://trueclassics.net/2012/08/10/singin-again-plus-a-giveaway/
Roderick Heath has posted a terrific new review of the reteaming of John Hillcoat and Nick Cave for this year’s “Lawless” at This Island Rod: thisislandrod.blogspot.com/2012/10/lawless-2012.html
J. D. LaFrance has penned a terrific piece on Tony Scott’s “The Last Boy Scout” at Radiator Heaven: http://rheaven.blogspot.com/2012/09/the-last-boy-scout.html
The esteemed Film Doctor, a professor on Film Studies at a southern university, has written a fascinating piece on P.J. Anderson’s “The Master” at The Film Doctor: http://filmdr.blogspot.com/2012/09/the-master-s-whip-lash-8-notes.html
Adam Zanzie has posted a terrific “alternative Sight and Sound list at Icebox Movies: http://www.iceboxmovies.blogspot.com/2012/08/my-alternative-sight-sound-list.html
Jason Marshall has continued his superb coverage of 1942 at Movies Over Matter with a wonderful post on his Best Actor choice for that year: Chishu Ryu: http://moviesovermatter.com/2012/08/09/chishu-ryu-in-there-was-a-father-best-actor-of-1942/
Peter Lenihan has written a superlative essay talking about two films: “Dredd” and “Savages” at The Long Voyage Home: http://thelongvoyagehome.blogspot.com/2012/09/double-feature-dredd-savages.html
At The Blue Vial Drew offers up “w/o” and some intriguing Fordian parallels: http://thebluevial.blogspot.com/2012/10/wo_5.html
At The Last Lullaby, the ever delightful filmmaker Jeffrey Goodman takes a look at part sixteen of his long running quartet series: http://cahierspositif.blogspot.com/2012/04/favorite-four-part-sixteen.html
Stephen Russell-Gebbett at Checking on my Sausages again offers up a brillinatly-creative feature on ‘Sport as the Perfect Fiction”: http://checkingonmysausages.blogspot.com/2012/08/sport-is-perfect-fiction.html
Tony Dayoub takes a look at the summer’s Barnes and Noble 50% off sale for Criterion collectots at Cinema Viewfinder: http://www.cinemaviewfinder.com/2012/07/criterion-summer.html
Greg Ferrara at Cinema Styles talks about the Colorado shootings in a moving feature: http://cinemastyles.blogspot.com/2012/07/the-dark-knight-shooting-in-colorado.html
Jeopardy Girl talks about her “least favorite film” at her wonderful new series at “The Continuing Saga of Jeopardy Girl”: http://jeopardygirl.wordpress.com/2012/09/03/2-my-least-favourite-film/
Dave Van Poppel has a tremendous batch of short reviews up at Visions of Non Fiction on the Toronto Film Festival:
http://visionsofnonfiction.blogspot.co.uk/
Sam –
We’ve been waiting to read your thoughts on SILVER LININGS PLAYBOOK. I’m glad we did because now I think we’ll shift gears and steer toward A LATE QUARTET instead. We can’t pass on, “The film weaves a resonating emotional spell.”
We saw SKYFALL (yes!) and have LINCOLN on our must-see-during-the-holidays list.
Happy Thanksgiving to You and Yours!
Sue and I saw Lincoln on Saturday night. We were amazed at Spielberg’s restraint. I had read that the director made claim in an interview that he puprposely pulled back and let Day-Lewis and Kushner do their thing. The Spielberg haters must be beside themselves now, as their usual arguments with this film now ring hollow. I’d say it’s the best film I’ve seen this year.
Laurie, I am thrilled to hear you and Len are setting sights on A LATE QUARTET, which is a sleeper, and a film that in the end is deeply affecting. Granted this subject matter had me initially interested, and subsequently enthralled, but we have exceptional acting by a distinguished cast and the power of love and commitment woven in. it’s a tough one to resist, especially with that magnificent Beethoven composition at the center. can’t wait to hear your report on LINCOLN, which I know will be glowing! A very Happy Thanksgiving to the Buchanans! Thanks so much as always my friend.
You said it Peter! The Spielberg bashers will really be at a loss for words this time, but believe me some will still find a way, if indeed they even bother to see it. It’s ironic that just recently a pointed attack was aimed at him on this pages in a controversial post, at the very time he was putting the finishing touches on this film. I was especially heartened by the ever-scrutinyzing Samuel Wilson’s exceptionally written and solid piece at MONDO 70. I would have wagered that both you and Sue would be very impressed, and thrilled that you took the bull by the horns this weekend. It’s true that the film stays clear of the saccahrine quotient, and lets the inherent fascination of these characters and riveting moment in history carry the day. That said, the ending of course is extraordinarily moving as in fact is the opening and several vital moments between. It’s one of Spielberg’s greatest films, methinks. Thanks as always my friend!
Are there any Spielberg bashers that totally dismiss all his films though?? I think that assumption is absolute myth on this blog. I for one have always praised AI, Munich, Schindler’s List to a certain degree, and 30-40 minutes of Saving Private Ryan. The idea that any regulars on this blog are besides themselves or possibly in a tither over Lincoln being a masterpiece is hilarious. I truly hope Spielberg has made another 5 star classic… since I love movies and want to see Hollywood make a few every once in a while. I personally can’t wait to go see it this week and am optimistic that it affects me the same way it did Sam. The only thing I find disheartening is when such a talented artist lowers himself to making absolute rubbish like War Horse, Amistad, War Of The Worlds, etc. Squandering talent on such drivel is what drives many on this blog to anger.
Maurizio, your point is well-taken. I think the thrust here was sarcasm towards Allan’s post of two months ago that seemed to polarize the fans and the bashers. I do realize that YOU have always been willing to admit that he did make several top-rank films, and thought your contributions to said thread were well-argued and all-embracing.
Sam, have you had a chance to see Nuri Bilge Ceylan’s ONCE UPON A TIME IN ANATOLIA? An incredible movie, released in January of this year after a festival run. You should reserve a space for it, if you’ve not caught it yet. Or is it being considered a 2011 movie?
Dean, I did indeed see it back in January, and to be perfectly honest, I erred by not including it on the tentative “so far” Top Ten. I awarded the film 4.5 stars on a Monday Morning Diary, and did say at the time that it was a strong contender for the year-end list. I do consider it a 2012 film, as per my own rules of USA theatrical openings.
Maurizio Roca, a huge fan, did include it on his list for last year, having it at five stars and near the very top of his list.
Thank you my friend!
I still consider it the second best film of 2011 after The Tree Of Life Dean.
Just saw Lincoln last night and enjoyed it – I don’t think it’s a masterpiece but it’s well-made and well-acted (I was surprised by the smallscale, focused approach it took, as I hadn’t seen previews or read much about it beforehand – for the most part I thought this angle worked, although it does mean that – like virtually every other movie about slavery or civil rights, it focuses entirely on white people). Day-Lewis was excellent, but in more unsung terms (well, relatively speaking) Jones in particular was great (it was a great part too) and Spader was a hoot, as he always is. Can’t entirely agree with the lack of sentiment though – I found the montage during the Congressional vote over-the-top as we were encouraged to applaud the misty-eyed nobility of all these politicians voting “yea” even after spending two hours seeing just how the votes were bribed & milked out of them. It struck me as Spielberg wanting to have his cake and eat it too – we could have had a triumphant moment without making it seem like the more corrupt individuals were suddenly transformed by this misty-eyed commitment. The following scene, with Jones & his housekeeper, was far more effective and my favorite in the movie.
Joel, it’s far less “wanting to have your cake and eat it” than just trying to craft a meticulous study of a man in his times and a pivotal event with some emotional context that will allow for the film to come off as far more than bloodless. Already the few detractors are complaining that the film is didactic and unemotional. Hence when you bring up those few instances where Spielberg rightly tries to connect the dots between the intellectual and the emotional, I think you chronicle the game plan, one I fully endorse. There was absolutely no reason why Spielberg should have held back the reigns in those few and far between instances, and I salute him for his wise decision. He was cerebral almost the entire way through.
It’s not the emotion I have an issue with, it’s the misapplication of emotion. Suing the roll call, the music swells, the camera swoons as one after another the Congressmen switch their vote to yea. Yet the entire film up to this point has dwelt on Lincoln getting his hands dirty to push the bill through, on the presumption that most of the politicians would have to be cajoled. To sentimentalize THEM as having had some change of heart (true in one or two cases, but not the majority) is what I mean by having I both ways. The Jones scene that follows is more effective because it’s earned and consistent with what came before (if also a surprise).
Joel–
I just can’t agree with you here. I didn’t feel it was misapplied at all, but an exercising of artistic licence. In a film that follows a more clinical narrative path, I can not only accept but encourage this kind of embellishment, especially since there are some actual trusisms in the way the vote played out. Despite the historical significance and potential educational value of this film, and it’s remarkable fidelity to so many actual events and characters, it is after all entertainment, and Spielberg was right to heighten the drama and accentuate the emotional passages. I would have done the exact same thing myself. IOnteresting too that you note the “swelling” music, when this is the most minimalist and underplayed score John Williams has written in his career.
Maybe I’m making the objection sound too complicated. It’s simple as this: throughout the film we are told repeatedly that the 20 votes needed for passage can only be won by corrupt means. And indeed the narrative mostly confirms this. And yet in the end we’re encouraged by the camerawork and score to celebrate moral transformation in these characters that has not been shown in the story at all. To show this scene as corrupt politicians redeeming themselves, as the style certainly does, basically undercuts the whole dramatic thrust up till then, at least for that half of the story. Hopefully this makes my objection clearer.
Joel, whether what transpired here is true moral transformation or Lincolnesque seduction is a tough one to answer. I favor the latter myself, and do feel the direction, cinematography and relatively subdued score should have been employed in the heightened way they were. I expect this kind of accentuation, and was surprised it was used sparingly throughout. Look, I can see where you are coming from. There si some subjective judgement here.
So are you saying the score & cutting were meant to be somewhat ironic (since you seem to be agreeing that the politicians hasn’t really transformed)? To what purpose?
I guess I’m just trying to make sense of a directorial decision that didn’t work for me, but seemed driven more by a sense of ‘time for a cathartic moment’ rather than dramatic necessity. Like Spielberg wanted to symbolize the nation redeemed as these men changed their votes even though everything up to that point had presumed their cynical natures.
By point of comparison, had Schindler’s List ended with noble portraiture of the Nazis Schindler had bribed to save his Jews, wouldn’t it have seemed rather ridiculous?
“I guess I’m just trying to make sense of a directorial decision that didn’t work for me, but seemed driven more by a sense of ‘time for a cathartic moment”
Spielberg/Williams….never. His last film attempted this after 5 minutes lol. I’ll come back to this sub-thread after seeing the film this week and give my two cents. For whatever reason I’m optimistic about Lincoln. Doesn’t help that you sort-of compared it negatively to Amistad though Joel. Either way this little back and forth has me further intrested in investigating for myself very soon.
Keep in mind Maurizio that Joel is in an extreme minority with this film, and as dependable, tasteful and intellectual as he is, he tends to offer “buts” with most films he sees. That’s not to say that every decision in LINCOLN is teh perfect one, but that by in large it leaves an indellible impression. I’ve seen it twice now, and the second viewing was even better. As far as John Williams, his participation in this film is hardly noticeable, and this is not any kind of forced cathartic moments aside from the few narrative junctures where this kind of accentuation is wholly valid. AMISTAD is the film that showcases manipulation, not LINCOLN. I believe you will see it that way as well if I have you read right.
Joel, I did not aim at all to assert there was irony in my statement at all. What I meant to say with that “Lincolnesque” statement was that Lincoln was playing the politician, and successfully brought that personal connection that comes with being the chief executive. I could no more believe that these people were suddenly (morally) transformed than I could that each would feel the same just days after they voted. It’s the old “let’s do it for the gipper” mentality that is really what was at play here. As such your later SCHINDLER’S point of comparison would not be applicable.
Of course “being in the extreme minority” doesn’t mean all that much, needless to say. I have been in that position many times during this calandar year, perhaps most notably for BEASTS OF THE SOUTHERN WILD and SILVER LININGS PLAYBOOK.
Far be it from me to judge a film by its trailer, but Silver Linings has all the indications of yet-another-quirky-indie written all over it, and the cynic in me suspects its getting a pass because David O. Russell is attached, so it’s considered an auteurist exception.
As for Beasts, I loved the ending but am just so frustrated with this misguided aesthetic notion that edgy, au courant films must be composed of shaky-can close-ups to be authentic and timely. I spoke to my dad after seeing it and he described as ‘tedious, but interesting’ which about summarizes my response.
What did you think of Moonrise Kingdom? I know you’re not a big Anderson fan but I seem to remember you liking it. For me, I thought it was ok but I didn’t see Anderson breaking out of his self-imposed twee ghetto with this, as others have claimed, and I don’t think he will until he writes with Owen Wilson again; their collaborations on Rushmore and (in more limited fashion) make those the most alive and least suffocated films in Anderson’s oeuvre for me; others would probably add Bottle Rocket to that list but I need to see it again.
Anderson’s universe of associations and decorations can be so magical when given just that extra touch of soulful, messy human zing but I’ve felt that’s been missing from Life Aquatic on. At least he didn’t collaborate with Baumbach, whose elitist misanthropy (and I like some of his films) does not bring out Anderson’s more lucid, humanist side. All in all, Moonrise was fine but I found it merely whimsical rather than magical.
*should say Rushmore and Tenenbaums.
Sam, so then just to clarify, because I’m still a bit confused about how you read this scene. Which of the following lbest states your disagreement with me (since we agree that most of the characters are not morally transformed): a) that Spielberg does not present the vote as a moral victory for the voters at all, or b) that he does so but does not actually share that sentiment himself (in other words, irony, which you say you don’t believe Spielberg was going for, so I guess it’s ‘a’?).
I thought the climax pretty clearly asked us to sympathize and become stirred by the courage it took for these men saying ‘yea’ when as the film had led us to believe up to that point (and as you yourself acknowledge) it was not really a matter of courage. I felt the music, shot strategy, and cutting added to this impression. Obviously the onus is on me to make the case, as it’s difficult to argue a negative but nonetheless since you’ve seen it twice at this point I’d be interested in where you think my reading of the scene goes wrong in feeling that Spielberg asks us to applaud these men’s votes as courageous and noble.
Obviously while I think this scene is flawed, I don’t think it’s enough to sink the film; still it seems important to note as it gets at what can be a fundamental stumbling block for Spielberg (it’s present in all of his films except Munich, sometimes appropriately, sometimes not) – a desire to tie a neat bow around everything rather than leave something unsettled, even when the story he himself has designed calls for that.
Here’s something I’d like to ask though: how many of the Lincoln fans applauded Amistad? I ask because they are remarkably similar films, yet it seems like Amistad always gets knocked while Lincoln is getting praised to the hilt. Yes, it’s more focused by centering itself on the president’s moral struggle instead of divvying up its dramatic duties as the earlier film did; on the other hand, Amistad could be considered more compelling in its multiplicity of voices (including African ones). At any rate, there are more dramatic and stylistic commonalities than differences.
Good point Joel. There are striking similarities that I did discuss in fact last night in our post-film discussion at Bailey’s in West Nyack after my second viewing of the film in a week. However there was more conscious manipulation in AMISTAD, while Spielberg here stayed with the intricacies and nuances that surrounded this epic political event, and Kushner’s studied perceptions of Lincoln’s home life.
I appreciate your strong regard for the film, but I do NOT agree with you that the film falls short of masterpiece status. It IS a masterpiece, and one of the director’s greatest works, and it features of the towering performances of our time. It’s relevant, it’s urgent and it moves mountains.
Yeah, that part of it I just don’t see, though you’re hardly alone in your assessment. In fact, the film seemed pointedly muted to me, in a manner that would seem to be less interested in mountain-moving and more in intimate portraiture which is certainly a justifiable priority. Yet the reception around it seems to regard it as another epic Schindler’s List, when I see it more as another focused Amistad (which I guess means I liked Amistad more than most, among other things).
Well, we are in disagreement here (though I recognize you like it well enough), with the mountain moving as applied in this film has been earned by letting the compelling story and iconic characters speak for themselves with very little directorial complicity. Yeah I like AMISTAD less than you do.
It’s been a while since I saw Amistad but in my memory it compares well with Lincoln and is a more memorable film visually. The scene from the earlier film that stays with me is the awesome shot of the ships’ masts looming over the skyline as counterparts of the Golgothan crosses Cinque has seen illustrated in a Bible. The films share a certain scrupulousness in representing the range of opinion at the time — John C. Calhoun’s appearance in Amistad is a sinister highlight — but Hopkins’s final speech in the earlier film is a dud that Kushner wouldn’t have allowed. At some point Spielberg should make it a trilogy and confront Griffith on his own ground by doing a Reconstruction movie worthy of the subject.
Samuel, your final point here is the game breaker for me. Kushner would now allow that crippling oratory that maligned AMISTAD (a film i still did like to a fair extent) and iondeed left such potentially delicious moments out of LINCOLN, so as not to compromise the focus. I still don’t see AMISTAD in Lincoln’s league, but there is some taste involved here.
Sam,
I’m still to see SKYFALL, which I suppose is a betrayal of my country! I’m planning to soon. I’m wary of the praise it’s been getting because the least popular James Bond film (Quantum of Solace) is my favourite.
I trust things are back on something of an even keel with you and your neighbourhood. All the best.
Thanks for the mention as always. Later I will be checking on MovieMan’s updated site. Yesterday I put up a post on images on my own blog that look very much like, or are inspired by, paintings:
http://checkingonmysausages.blogspot.co.uk/2012/11/images-inspired-by-paintings.html#comment-form
Thanks for the very kind comments Stephen. All is well indeed at this time now. Yes, i’d be most interested in knowing what you think of SKYFALL, and I am figuring you may be writing on it. Yep Movieman’s new site is exciting for sure! I will be over to your site for that new posts ASAP. Sounds great! Thanks again my friend and have a nice week!
Interestingly, Stephen, the troubles in Northern Ireland also get mentioned in the film. Fairly prominently, actually. Another layer to the political turnaround from the last films.
Oh, interesting (especially as they are, mostly, in the past). From the little I’ve heard of the film it portrays a Bond and a Britain showing wear and tear or somesuch.
They’re used for a character’s backstory. The Hong Kong handover is also namechecked (interesting especially, as that was initially going to be a much stronger plot point in the second Bond film starring Brosnan, until Henry Kissinger told the producers that would never happen). This is definitely a movie that’s as concerned with the past as it is the present.
Ah OK. I like the idea of those political moments being part of the narrative as their impact is still felt now. I was thinking recently how the last couple of Bond films felt very British in sensibility without there being the almost self-parodic Union Jack stuff of old. The ceremonies of the Olympics, in contrast, were like a tourist’s handbook.
I think in part the parodic tone of the past generation of Bond films was EON’s uncertainty of what to do with Brosnan in the transitional period coming out of the Cold War. Brosnan was a great actor in the series, at the very least one of the top three Bonds, but aside from his debut in “GoldenEye” they never really matched him in terms of quality with script or director (Michael Apted, bless him, was in over his head). It’s a terrible shame Phillp Noyce was never brought on to the series– looking at what he did on his two Tom Clancy movies and what he later brought to “Salt” amongst other things, he’d have been perfect to bring some grit and gravitas to the Brosnan era. A great Bond, but one less in touch with reality– aside from his first outing, Brosnan’s best “Bond” style performances were in other films like “The Thomas Crowne Affair” remake.
Good to see you here more frequently, by the by. I hope you get a kick out of Joel’s NGE pieces.
Thanks Bob. I was busy here and there so I came here less often and posted at the blog less too.
Sam, Wright’s Karenina has interested me since I saw the trailers, but the gimmickry is guaranteed to have a distancing effect. I’m not sure what the point of his approach is, but I’m still thinking of giving it a try when it hits town at the end of the month. Late Quartet looks promising just on the premise of Walken in such a cultured role.
Besides seeing Lincoln I watched The Face of Another on DVD. Odd to see a Japanese director eschew widescreen, but it’s another tour de force for Tatsuya Nakadai and an intriguing piece overall. On Netflix I watched Carlo Lizzani’s The Hills Run Red, in which Robert Hunter is perhaps the most emotive of spaghetti western heroes, though not necessarily to the otherwise handsomely mounted film’s benefit.Off the DVR I watched Hawks’s The Crowd Roars, a not-quite Hawksian racing melodrama with Cagney in a predictable fall-and-rise performance; Archie Mayo’s Two Against the World, a romantic comedy with real chemistry between Constance Bennett and Neil Hamilton, but marred by a cumbersome courtroom climax featuring the dreaded “higher law” defense; George Archimbaud’s After Tonight, a charming trifle of wartime espionage with Bennett and future husband Gilbert Roland; Blake Edward’s The Carey Treatment, with James Cobun as a doctor-detective and an abortion mystery juiced up with some over-the-top action; and three M-G-M B pictures with Walter Pidgeon as Nick Carter, all of them pretty much stolen by Donald Meek as Carter’s slightly psychotic fan-turned-sidekick. And I can’t forget Irvin Berwick’s The Seventh Commandment, a fittingly grimy, sleazily spiritual late noir about the fatal attraction between a faith healer and a blackmailing broad. More about some of these later. For now, happy Thanksgiving to Americans and a wonderful week to everyone else!
Samuel, Tolstoy’s novel has been an obsession for filmmakers, but as Mark Smith opines on this thread, it’s a difficult transition. There was no narrative life or sense of urgency in Wright’s version, and beautiful visuals and music could not inject what the film really needed. The acting was solid, if uninspiring. I’d be most interested in knowing what you think. Good point about Walken and A LATE QUARTET offers some unexpected pleasures! THE FACE OF ANOTHER is indeed a brilliant work from Teshigahara, and I did recently see THE HILLS RUN RED at the spaghetti western festival. It was fun, but one of teh lesser entries, methinks. A bit silly as I recall. Agreed on THE CROWD ROARS, but can’t say I remeber the other four that you superbly encapsulate. Have a wonderful Thanksgiving my friend!
Hi Sam,
I wish you a blessed Thanksgiving! Hope you have a wonderful time with family and friends this week. I am wrapping things up at the office over the next couple of days before we all head to Chicago to visit my folks for the holiday. I have to leave for work this coming Sunday for 2 weeks though. That’s going to be a long and rough trip I’m afraid. I would have loved to hear more praise for Silver Linings Playbook. I am some what ashamedly looking forward to seeing that. I am a hopeless romantic and really love Jennifer Lawrence. I’m hoping I like it more than you did, but we shall see. Thinking we might get a viewing of that this Friday perhaps.
Well I was on the road last week, but managed re-viewing of Le Cercle Rouge. My I love that movie. I wrote a piece on that which I aim to get posted over the next month. I was however disappointed by Safety Not Included, which I saw on the plane. I had heard good things about it earlier this year, but found it one of the poor examples of the new “indie” Hollywood garbage, meaning that the film attempts to be hip (a la Juno), but is really just cliched and strained and holds only a few genuine moments.
For some reason, I had my hopes up for Anna Karenina, but with the reviews being so poor, I refuse to watch it. There’s nothing more interminable than watching a bad adaptation of a great tragic romance done poorly. The next two films I see will be Silver Linings Playbook and Lincoln.
Have a great Thanksgiving my friend!
Jon–
A Happy Thanksgiving to you and your lovely family! As always we will be spending the day with Lucille’s sister’s family and the 40 plus people in attendance in a scenic enclave in rural northwestern New Jersey. Great that you are heading into Chicago! So another long trip for you? Ah, this is the nature of your position I know, but you always seem to handle it well. I am a romantic at heart as well Jon, and I do love Jennifer Lawrence, but the film’s issues were certainly apart from her own great work in it. I have not seen SAFETY yet, but will keep in mind what you say. LE CERCLE ROUGE is an out and out masterpiece, and perhaps Melville’s best film of all. it’s my own favorite of his in any case. I await eagerly your reactions to LINCOLN and PLAYBOOK!!! The best my friend!
Hollywood should just lay off ‘Anna Karenina’ for a good, long while. I think all these adaptations keep people from reading the book, which is one of the best ever written.
No, ‘Blow-Up’ isn’t Antonioni’s worst film. That dubious honor goes to 1970′s ‘Zabriskie Point’ which I just bought for $19.99, damn it! Well, the film’s finale is eye-popping, at least worth the price of admission and maybe then some.
‘ZP’ should really be called LOST IN AMERICA, and you’ve got to hand it to Antonioni. When he fails, he fails spectacularly. This follow-up to ‘Blow-Up’ is abysmal. The script (playwright Sam Shepard had a hand in it) is inchoate, the acting is atrocious — in fact ‘ZP’ is barely recognizable as a film by the great director, so barren is it, so unsuited is Antonioni to the subject of radical youth. Some friendly advice: just fast forward through the film’s first 104 numbing minutes of Black Panther meetings, inane dialogue, campus unrest and marijuana-induced desert orgies and go to the explosive finale. Then watch in something like religious awe as the smithereens of America’s consumer detritus (lawn furniture, groceries, TV sets, refrigerators, clothes, chairs) disintegrate and drift through the ether (maybe Antonioni named the wrong film ‘Blow-Up’), each product of ephemeral American junk culture obliterated over and over in dreamy slow-motion. It’s one of the great film climaxes, imitated by De Palma and Cronenberg, among others. I especially like the way Rod Taylor’s desert mansion explodes soundlessly the first time (the house detonates in full, stereophonic sound many times afterward to the music of Pink Floyd), a figment of the girl’s imagination. It’s one of the only genuine Antonioni abstractions in the film. The rest is a sadly dated depiction of 60s youthful disaffection, a severe disappointment to someone like me, who previously had thought (and still thinks, in spite of ‘ZP’) Antonioni the infallible master of alienation, a pioneering explorer into the possibilities of love in the mid-twentieth century.
The gorgeous cinematography is by Alfio Contini (I’ve yet to see an Antonioni film, no matter how flawed, that looked ugly).
Wow, between this and the Pitagora vote you must be my long-lost twin brother lol. I fucking ADORE the ending which is probably my favorite movie scene of all time, and I bought the DVD despite not caring for he movie as a whole solely because of that sequence. I ripped the Pink Floyd track (called “Come in Number 41, Your Time is Up” after one of Ringo’s non sequitur lines in A Hard Day’s Night) and play it continuously on my iPod to get me revved up – and I used it last year to score a You Tube montage of super-quick movie clips.
Somehow that explosive ending feels like the final supernova of a staggering decade, both historical and certainly cinematic – the explosive climax to what began with the restless but relatively innocent energy of Truffaut and Godard and he melancholy investigations of Resnais in ’59 and Antonioni a year later with L’Avventura. I like to think of the sixties cinema as a kind of escalating, unfolding, abstract narrative progression and you couldn’t ask for a better explanation point finale than this (with The general’s all-glory-is-fleeting speech in Patton, as he walks off toward his own quixotic windmill, the sublime, sad, and fittingly ironic coda to a decade of dreams, nightmares, and fervent explorations).
Movieman –
Since buying the DVD I’ve watching this finale over and over (love the loaf of Wonder bread floating through the sky). Using the 60′s vernacular, this scene is “mind-blowing”. Has the apocalypse ever looked more ravishing? Not even those beautiful mushroom explosions at the end of ‘Dr. Strangelove’ can compete with Antonioni’s vision, a great kiss-off to an incredible decade of cinema.
Totally agreed. Aside from all the thematic resonance, its just so goddamn gorgeous…
Wow, after reading Joel’s comment, there certainly isn’t much I can add here. Ha! The ending is one thing but the film as a whole is another I guess, though I haven’t watched in many years. True what you say there Mark about the excellence of the cinematography in all Antonioni’s films, and quite a brilliant and fascinating analysis of BLOW-UP.
Thanks as always my friend! Hope you have a relaxing and enjoyable week planned.
Lincoln was exceptional. I’d say it’s a great film and Day-Lewis has singlehandedly moved the mountain you talked about Sam. I was also very impressed with Sally Fields, and thought the unusual restraint kept the film aimed at the drama surrounding the passage of the slavery amendment. I guess the film didn’t or won’t impress everyone, as an older man behind me was snoring. I like that Spielberg let it play out only on occasion injected his famous directorial touches.
Great to hear it Frank! The pull back on the emotional heart strings allowed for the film’s intricate, intellectual screenplay to rivet, though as you note a few will be bored. SLANT in a major surprise came in with a very positive review, and the gneral concensus has been very impressive. I couldn’t agree more with you my friend! Many thanks!
Hello Sam and everyone!!
Thanks for featuring my new blog once again with so much praise and good wishes, I hope that this one goes a long way and I hope everyone can give your opinions on the best films of the 90′s on the entry at my blog.
I’ve been working hard and long on the script, and that shall be my life until mid-december at least, but in the middle there shall be a little film festival that I will attend, so yay, let’s hope for good movies and good times.
My week movie wise:
- Argo (2012, Ben Affleck) ****1/2 One of the contenders for the Oscar this year, this film is gripping and telling of a hard situation that was going on, and it manages to turn it entertaining by mixing the thrills of the rescue mission alongside the trials for the hollywood production. The film is really well acted and filled with love for the media, and the final half hour or so is really at the edge of your seat thrills and suspense all the way through. Keeps you guessing and asking questions and that makes it great.
- Boat (2007, David Lynch) **** A short film from David Lynch in his digital era, a swift female narration as the camera show us a boat and David Lynch himself starting it and riding it into the night. A beautiful experimental short.
- El bonaerense (2002, Pablo Trapero) ***1/2 A film from Argentina about the status and the trials for the regional police, seeing them as corrupt and filled with problems regarding drugs and violence. Overall, I think that the film is truly great and a brave statement, but the thing is that they chose the worst actor for the leading role of the kid who tries to be a policeman. He’s dull, ugly and at the same time can’t really catch my attention nor care about himself, a true shame since the film was so promising.
- Ghostwatch (1992, Lesley Manning) ****1/2 One of those horror films that you hear about but you never get around to see them, this is a Made for TV production that predates the likes of Blair Witch and modern “real” horror movies. This one plays like a live production of the BBC where a TV crew enters a house to see if they get spooked by the so called ghosts or poltergeist that roams around and haunts a family of three. There are interviews and all is so well done that it seems as if it were real, a great experiment and a scary movie to boot.
- Magic Mike (2012, Steven Soderbergh) **** A movie that is interesting in its experimentation of narrative and at the same time how it is shot. The scenes have certain framing and cinematography that is always interesting to watch, with some scenes at dawn that are pretty astonishing, as well as the way in which the narrative moves around following a certain group of characters doing their deeds in different parts. It’s also really well acted and overall greatly directed, Soderbergh knows how to make a movie interesting even if I’m not his public.
- My Last Round (2011, Julio Jorquera Arriagada) **** I remember you watching this film, Sam, and not liking it, this is a chilean film made with a big heart and many emotional scenes, for me it was one of the best performed movies that I’ve seen in chilean cinema in a long time, specially since the acting in film isn’t usually this good, and this one surprised me in the best way possible, specially since I thought I wouldn’t like it. I felt the urge and the thrills of the twists and turns of the film, I was enthralled, and even if the ending was not of my liking, I still think it’s pretty good.
- The Blondes (2003, Albertina Carri) **** Documentary from Argentina about their own dictatorship and how the parents of the director dissapeared one day and were killed. This one has an interesting experimentation as we are witness to how an actress plays the role of the director of the film in lieu of presenting herself as if she were the director and interview familiars and friends of her (of the director’s) parents. It’s a puzzle that is not completely solved for me, but I do admire it.
- Safety Not Guaranteed (2012, Colin Trevorrow) ****1/2 A real surprise, an amazing journey of emotion, comedy and thrills, a truly great movie about the relation between different kind of people, love and emotion, as well as the job of journalism and its ethic parts, all with a little of time travel mixed in. Great acting and this is quickly becoming one of my favorite films of the year, specially due to the drama and attitude that the film manages to put through the coincidences and the events that happen to the main characters.
- Tesis (1996, Alejandro Amenábar) ****1/2 A hitchcockian thriller directed by the famous spanish director about the issue of snuff films, how a film student finds one and manages to investigate its origins that are deeply buried in the history of the campus itself as well as the history of the violent filmmaking. There are great characters, the film is really intriguing, it has you guessing and turning your ideas about the characters every two seconds and that is truly the sign of a great movie.
- Three Colours: Blue (1993, Krzysztof Kieslowski) ****1/2 My first Kieslowski was a surprise and a hit, I wasn’t expecting anything this deep and powerful, it is truly a great movie that for me, sadly, kinda stopped being as amazing as I thought towards the end, but nevertheless the first hour and a half of movie is astounding, beautiful, emotionally impressive, tremendous, just a few notches under perfection, and I just can’t wait to see my next Kieslowski film.
- The White Shadow (1924, Graham Cutts) ***1/2 This was the film that was saved and restored through the blogathon of For the Love of Film, saving one of the early Hitchcock films in which he had a great influence upon as story writer and many other roles. The film itself is ok, I guess, it’s melodramatic but acted really good, there are some impressive shots here and there, but there’s also the bummer, the film is not complete and the second half is completely lost.
That’s all Sam, have a good week!
Jaimie—
I was delighted to mention your new blog, and wish you continued success at your new home! I also know you have ben wqorking hard on your script, and again anticipate a highly-successful result! But yes, I have no doubt you will negotiate quite a few films, as you have in fact this week. I do know from visiting Marilyn’s place that THE WHITE SHADOW is incomplete, and while I agree it’s a bummer, we must at least be grateful for what we have. It was a miracle this much was saved. I did find THREE COLORS BLUE as perfection, and have it listed as one of the two or three greatest films of the 1990′s. I am happy to see that you have responded to ARGO in a big way. I gave that one 4.5 as well, and am figuring it will be landing some major awards. The Amenabar I liked less, but I am not readily able to say exactly why as I am drawing somewhat of a curious blank. As to the others I really do want to see SAFETY NOT GUARANTEED and GHOSTWATCH. I had little use for MAGIC MIKE (2 stars), but you are not the only one who enjoyed it and came in with a strong summary reaction. As always, you have provided perception capsules my friend! Thanks as always and have another great week!
Being a big admirer of Kieslowski & having watched all his feature films (except for Spokij), I’m delighted to know that you too have begun your journey with the Polish master. He had so many films that I’m deeply fond of (Three Colors, Decalogue, Short Film about Love, Blind Chance, No End, etc.). Interestingly, my first Kieslowski film, too, had been Three Colors (Blue, to be precise).
Well Sam I have had an eventful couple of weeks which included among other things a tumble down the loft stairs (bruised nothing broken) and the birth of another grandson on November 11th. Everyone healthy and well. Whee!… crazy times. On the movie end of things, we saw a couple I really enjoyed.
THE UNBEARABLE LIGHTNESS OF BEING (1988) directed by Philip Kaufman. I started out not liking the Czech doctor very much but he grew on me as his character developed and he rummaged through the messiness of living with some humours moments and his deeply moving times of confusion. But it was the two significant women he his life that I really enjoyed. A film that I hope to see again sometime and maybe even again after that. Steamy hot but with all the finesse of – leaving much for the viewers imagination. Beautifully filmed and acted. Timeless.
ANGELS IN AMERICA “a 2003 HBO miniseries adapted from the Pulitzer Prize-winning play of the same name by Tony Kushner. Kushner adapted his original text for the screen, and Mike Nichols directed. Set in 1985, the film has at its core the story of two couples whose relationships dissolve amidst the backdrop of Reagan era politics, the spreading AIDS epidemic, and a rapidly changing social and political climate.” reference: wikipedia We watched or rather are watching the six one hour “chapters” version. I like the social political discussion that is dramatized by Tony Kushner. It has depth and humour in just the right combination to keep my attention.
Well that is it for now. I am working on some large 3 x 5 foot canvases and hunkered down for the winter rains and winds that come with the short days. Take care Sam and all the best to everyone here at Wonders in the Dark.
Terrill—-
Congratulations to you and your lovely family on another joyous occasion! You have had quite a view additions since I first met you around three-and-a-half years ago, and I know you must be thrilled. I am sorry to hear of that tumble and am relieved that you didn’t incur anything lingering. I quite agree with you on THE UNBEARABLE LIGHTNESS OF BRING, based on Milan Kundera’s existential novel. Daniel-Day Lewis is as ever quite impressive in this film, but as you rightly note it’s the two women who are center stage and electrifying here: Juliette Binoche and Lina Olin, and the film contains some of the most erotic sex scenes ever filmed. Ingmar Bergman’s famed cinematographer Sven Nykvist contributes some stunning cinematography. Yes, I agree with you that’s it’s timeless. ANGELS IN AMERICA is another that deserves high praise. The social, political and turbuence come together in this series about dissolving relationships that in the end is remarkably moving. I was lucky to see this staged last year in two parts in Manhattan in a production that is comparable to this great and powerful mini series. Wonderful capsules here Terrill. Have a great week on the creative front and otherwise my friend! Many thanks as always.
thanks for the mention Sam. Indeed this is that time of the year when even my cinematic trips increase. I finally caught up with CLOUD ATLAS and was disappointed for the most part. Although as Bob indicated in his excellent essay time may change some perception of it. I might revisit the film after I finish reading the book which I have struggled with for the last month or so. There are a few things I am curious to see described in the book to compare how much deviation has been made. I have a feeling some of the underlying similarities to The Matrix (the one, revolution, harvesting farm for fueling energy) are probably only in the film version.
A LATE QUARTET is one of those films to which I had a ticket to CIFF but had to give away as I could not make the film. I knew the film would be released in cinemas but now am hoping I don’t have to wait until Jan/Feb to see it. I was not that excited to see SILVER LININGS..or ANNA KARENINA. I have a few others to catch up before I see those such as MIDNIGHT’S CHILDREN and CHASING ICE, a doc that got great reviews from friends that caught it at CIFF.
Also hope you, your family and the rest of the American Wonders in Dark readers/writers have a good thanksgiving weekend.
Sachin—
It’s an exciting time of the year for sure! I can’t count the number of times I have made lists of the films I need to see for my wallet. It seems this week I’ve added several to that lineup. I am with you on CLOUD ATLAS, which I found scattered, and practically incomprehensible. The idea was there, but the execution was quite another matter. But I agree that another viewing would be a good idea, especially with this type of film. Interesting points you make about the book. Oh yes, I have also heard quite a bit about CHASING ICE! And I would love to see MIDNIGHT’S CHILDREN as well. While I seriously doubt you will like ANNA KARENINA, it’s tough to say how you’ll react to SILVER LININGS PLAYBBOK. But as you say there are many others that get priority here: For me, AMOUR, LES MISERABLES, THE LIFE OF PI, HYDE PARK ON THE HUDSON, KILLING THEM SOFTLY, THE HOBBIT, RUST AND BONE and ZERO DARK THIRTY are the ones to see.
Thanks as always my friend! Have a great week!
Sam, thank you very much for the mention! I’m not surprised you were underwhelmed by ‘Anna Karenina’, which I also found a big disappointment. I liked Jude Law as Karenin and Matthew Macfadyen as Oblonsky, but to me the film just didn’t work overall, with its narrative gimmicks, and the two romantic leads got nowhere near the intensity the story ought to have.
I’ve had a frantically busy week and haven’t fitted in many films, but did see ‘The Man with the Golden Arm’ (1955), which I loved – all those scenes where Sinatra’s craving for drugs is building up with Elmer Bernstein’s insistent score and the flashing signs, wow… I need to see more Preminger. Loved both Sinatra and Novak, just a shame that Eleanor Parker is so over the top. I also saw Raoul Walsh’s ‘Objective, Burma!’ (1945), starring Errol Flynn, and thought it was very good, a lot more downbeat and realistic than I’d expected.
Hope all at Wonders have a good week, and best wishes for Thanksgiving to all the Americans.
Judy—
I do well remember your own issues with ANNA KARENINA, and I completely concur. The film did not build any urgency as you note, and the romantic leads are only passable. Too bad, as Joe Wright had an impressive run before this. THE MAN WITH THE GOLDEN ARM is certainly a classic, and Elmer’s jazzy score is seen as rightly seminal. As to Preminger Judy, I am not sure if you have seen BONJOUR TRISTESSE yet, but this a Preminger masterpiece that I am thinking is up your alley. True about Eleanor here. OBJECTIVE BURMA! is solid war film, although admittedly downbeat. Thanks very much for the Thanksgiving greetings my friends! Have a great week and thanks so much as always.
Sam, Happy Thanksgiving to you, your family and to all who celebrate this day. And thanks for the shout out as always. I did get to watch five films this past week including two excellent films at the theater.
Lincoln (*****) Masterful performance from Daniel Day Lewis as well as glowing work from Sally Field and Tommy Lee Jones. The photography, the set design, the entire feel of the film makes you feel like an integral part of the film. A revealing look at the game of politics, the bribes, the persuading, the compromises but mostly the heavy weight on one man’s shoulder, as well his determination, to do the right thing.
A Late Quartet (****) – Top rate acting from Christopher Walken, Philip Seymour Hoffman, Catherine Keener and Mark Ivanik highlight this small film about a string quartet approaching its 25th anniversary. The group begins to disintegrate after they find out their patriarch (Walken) has been diagnosed with Parkinson’s disease. The announcement triggers a series of incidents within, that just like a dysfunctional family, almost destroy the group. Christopher Walken’s quiet laid back performance is a revelation and worth the price of admission.
Crossfire Hurricane (****) Crossfire Hurricane reminds you just why The Rolling Stones were once deservedly considered the most dangerous band in rock and roll. A life filled with sex, drugs and in between some great Rock and Roll. Put together from various sources including the Mayles Brothers and Robert Frank the film is filled with violence (Altamont), bad language, sex, drugs and more than anything else kick ass music. They were every parent’s nightmare, the devils of rock and roll before corporate money washed away its grit and rawness.
Sherlock Jr. (*****) A masterpiece from Keaton. Brilliantly executed.
The Maltese Falcon (****) This is the 1931 Ricardo Cortez/Bebe Daniels version. Certainly not in the same class as the Huston/Bogart masterpiece but this film does have its sexy wicked charm. More about this on Friday when I post a review.
John—
Needless to say I am thrilled to hear you absolutely adored LINCOLN, a film that may well be dominating the awards season. In this instance it would be well-deserving, as this is clearly one of the year’s towering achievements. Your astute capsule tells it all. Day-Lewis gives one of the most extraordinary lead performances ever, and as you note Sally Field and Tommy Lee Jones are excellent as well. Likewise I loved hearing how much you liked A LATE QUARTET, which I similarly rate with four stars. You beautiful frame it, and splendidly liken Walken’s performance to a revelation. The Beethoven composition examined in a joy in and of itself. SHERLOCK JR. is one of the all-time great masterpiece, I quite agree, and sorry to say I haven’t seen CROSSFIRE HURRICANE, but much appreciate the excellent analysis. Thanks as always my friend, but especially for this great and thrilling report! I extend Thanksgiving greetings to you and Dorothy!
Sam,
Thank you for the link.
Political theater in Japan has been changing its revue haphazardly from comedy of Noda troupe to tragedy produced by Abe, and now the horror show staged by Ishihara. Shintaro Ishihara is no stranger to movie lover’s community, being the writer for popular films such as CRAZED FRUIT, RUSTY KNIFE and PALE FLOWER. He has become the symbol of the generation of the lost cause, too young to die in the war, but too old to escape self-serving rhetoric of prewar culture. Since the days of the pretty boy of new Japanese literature, he has wielded many vulgar tactics of populist-right wing mix, to gain solid fanbase across the age groups. When the voters in Tokyo gave him another term as a mayor last year, I couldn’t believe it, but I should have known. He is popular among dissatisfied, media-drenched, stimulus-craving public. He is one of the most vicious racist appeared in recent years, a Japanese variant of holocaust denier, and a proponent of anachronistic, unrealistic expansionism. But these “aggresiveness” somehow seems to resonate with large part of population. When the present cabinet led by PM Noda failed to gain popularity in this time of crises, he saw the opportunity. Now he is running the show. He is running for the coming national election. He hasn’t said anything specifically, but he is basically running for the PM. He doesn’t have to tweet. The media is swarming around him, reporting everything he does, he says and he criticize. He reminds me of Karl Luegar, the mayor of Vienna in early days of 20th century, and the idol of Adolf Hitler.
And another media adrenaline these days is, of course, the new Evangelion movie. I haven’t seen it, and I’m not quite sure I would like to. When I saw the original TV series after the Fukushima disaster, I noticed something I had not realized before. It’s not the story itself, nor even the work itself maybe. It’s the way how we perceive things, or, how we are conditioned to perceive things. I felt I was seeing the mirror images of ourselves, or the mirror images of ourselves we wanted them to be. Ever since, I cannot go back Anno’s visions to enjoy its fairy tale. I have become too critical. Then, I find myself desparately disintrested with this “whole new level of visual experience” in the theater. By the way, according to many, this new Evangelion film seems to be way better than expected.
I am planning to see two documentaries this weekend.
MI
Fascinating comment – if possible, MI, I’d love to hear you elaborate on your Evangelion second thoughts…
I’d also love to hear your extended thoughts on the “Evangelion” experience, MI, since you’ve got a genuine finger on the pulse of Japanese culture and politics. Joel’s running an episode-by-episode series of reviews on the original TV series up at his site, which I join him on for extended discussions afterwards. Perhaps you’d be interested in tagging along?
Joel and Bob,
I’ve been thinking about writing up my thoughts on this – especially the psychological landscape I found most disturbing after Fukushima and its implication to the world of Evangelion and its genealogy. I’m not an Anime-Otaku but I had my share of animation/hero-fantasies as I was growing up – from Ultraman to Gundam. That’s how I would like to offer some thoughts on the topic, from somewhat different perspective. It maybe another week or two before I can post the article at my site (and it will be at least 2 to 3 parts).
Yes, I would like to contribute some thoughts to Joel’s review,
Thanks for the interest.
MI
I’d love to read that piece, MI. Just sent you an email via Sam. Keep in touch…
Wow MI, never knew Ishihara was a mayor and is now running for national office. And what a disater it would be if he were successful. I’m surprise the Japanese public hasn’t seen through him, and allow him to win elected office. Ugh! A racist to the core as you note, and the idol of the disatisfied. But that comparison to Karl Luegar is telling in itself! Let’s hope he doesn’t win, though you seem to be asserting here that he is the favorite. The whole affair is really shocking in modern day Japan! I am not personally all that familiar with EVANGELION, but as you can see here with Joel and Bob, we have somke serious fans. Hope the docs are worthwhile, and thanks as always for the absolutely superlative comment my friend!
Sam – This is very late-breaking, but I wanted to chime in. Yesterday while at work, I composed a comprehensive comment, only to have my laptop suddenly go all “goofy” on me and the comment disappeared! I still don’t know what happened, but I got interrupted at that point by my actual work (imagine that!) and never got back to the thread.
Anyway, was disappointed to hear that both ANNA KARENINA and THE SILVER LININGS PLAYBOOK were disappointments, as I was greatly looking forward to both of those films.
Here, I watched THE QUEEN OF VERSAILLES and OCTOBER BABY, the latter a pro-life Christian film that I watched to prepare for a longer post that I’m working on looking at Christian films in general. I also made it to the multiplex twice last week for the LINCOLN and THE SESSIONS, two great films. LINCOLN was a towering achievement on which I’m in the midst of writing a short review, but am having trouble organizing all my laudatory thoughts in a manner that does the film justice.
Pat—-
I am so sorry to hear the comment was lost, and know that lamentable occurance well. It is frustrating, and a real loss of time. Thanks for coming back with another great submission! You may think differently about either SILVER LININGS or ANNA KARENINA (or both) but I am speculating you will be somewhat disappointed, especially with Joe Wright’s costume drama. I have seen THE QUEEN OF VERSAILLES, but not OCTOBER BABY. I’d be most interested in hearing your thoughts. And I am thrilled to hear your glowing opinion of LINCOLN and will happily check out your essay at DOODAD! I agree it’s a towering achievements and easily one of the very best films of the year! And THE SESSIONS is also extraordinary, so again I am completely on the same page with you. Thanks very much Pat! Have a great week.
Sam, thanks as always for the kind mention, and apologies as always for once again being late in joining the party.
My stay at Calcutta got over, as it was bound to happen sooner or later, and I returned to Pune, the city where I’m presently residing on Monday evening. So, from yesterday onwards, I’m back at my job after the short but nice vacation.
As I’d mentioned to you by email, my vacation neatly coincided with this year’s Calcutta (Kolkata) International Film Festival. I got hold of a delegate pass as soon as I landed in the city, and hence managed to watch a few films given the various commitments when inevitably crops up when one is at home after a while. The overall film selection was quite good, and though I would have loved to watch quite a few more films, but I’m happy that I got to watch the 10 movies that I did – including a few with fellow cinephiles I know personally.
There were a number of sections in the festival, apart from the one on Cinema International (which included films released in 2012/2011), like ones dedicated to Restrospectives, 100 Years of Indian Cinema, Homage, Contemporary Indian Cinema, Shorts, Documentaries, etc. I watched films mostly belonging to the Cinema International section (9 out of 10, in fact).
So these were the 10 films that I watched at KFF:
- Time of My Life – a decent Belgian drama on the subject of euthanasia
- The Dust of Time – Theo’s last completed film (shown as homage to Theo)
- Shameless – a decent, low-budget Polish film abot the forbidden relationship between a brother & his elder sister
- Something in the Air – Assayas’ latest, a semi-autobiographical account on the backdrop of the ’68 Paris student protests (the film begins 3 years after that event)
- Holy Motors – the brilliant, confounding avant-garde film by Leos Carax – I’m sure this film will feature heavily in most critics’ top 10 lists (and a strong contendor for the top position as well)
- Shame – Steve McQueen’s compelling character study about a compulsive sex addict
- Beyond the Hills – a searing religious drama from Cristian Mungiu, of 4 Months 3 Weeks & 2 Days fame
- Amour – an incredible & profoundly depressing tale of an aged couple by Haneke (another very strong contendor for the top slot for year end Top 10 lists)
- Sea Shadow – a simple & lyrical teenage love story from UAE – if I’m not wrong, a film produced in the nation after a long time
- Like Someone in Love – a brilliant, whimsical & delectably quirky love story based in Japan by Abbas Kiarostami
I managed to watch 2 more films after the film fest got over:
- Innocent Sorcerers – a brilliant, darkly funny love story by the Polish legend Andrzej Wajda
- Landscape in the Mist – yet another heartbreakingly beautiful masterclass by Theo Angelopoulos
Shubhajit—
Thanks so much for this banner report!! What a festival you attended! I am in total agreement with HOLY MOTORS as a top 10 finisher and in contention for the #1 spot as well. It’s one of the most mind-boggling films I’ve seen in a long time. Similarly I am expecting greatness from AMOUR, which opens at the Film Forum in about two weeks or so. Your glowing report has excited me even more! I have seen SHAME last year and think it’s a masterful work, as you seem to imply as well. I am really intrigued about the Assayas, Mungiu and Kiarostami!!!! I’ll be checking up at your place for the reviews. Thanks so much my friend as always!
Sam, thanks so much for the great mention!
I hope this finds you in the middle of some wonderful holiday time. I didn’t deviate too far from the norm – just lots of hanging out and over-indulging.
I did manage to catch a few things: Fleming’s RED DUST, Curtiz’s THE SEA WOLF, and the Korean A DIRTY CARNIVAL. All were very enjoyable first-time viewings even if none of them will probably end up as all-time faves.
Enjoy the rest of this holiday, Sam. Thanks so much for all that you do!