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Archive for May, 2014

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by Duane Porter

The life of Adele. Every morning Adele comes out the door, adjusts her pants, and hurries down the street to catch the bus that takes her to school. In class they are reading from La Vie de Marianne, “Ideas take hold of me. I am a woman. I tell my story.” The passage being discussed considers the possibility of ‘love at first sight’. Adele is enchanted, she loves this book and is immersed in the life of Marianne. Wide eyed, her mouth perpetually half-open, she has an insatiable desire to experience life, particularly the life of Adele.

Between classes, the girls like to talk about boys. They are all sure that one of the senior boys, Thomas, has eyes for Adele. She pooh-poohs the idea but she is obviously intrigued. Then, one morning, Thomas sits by her on the bus. They talk about the weather. They talk about the book Adele is reading, La Vie de Marianne. And they talk about what kind of music they like. She likes all kinds, she says, except hard rock with long hair and screaming. He is a musician, he teases her saying hard rock, heavy metal, is what he plays, but then he reassures her that he doesn’t and says he’d like to play for her sometime. That way they can meet again. (more…)

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Once5

Written by Jon Warner

Once is one of the defining romantic films of the new millennium, and the most touching elements are the chemistry and song writing skills of the two leads in the film. Glen Hansard and Marketa Irglova had known each other for years, performing together as a folk duo prior to any involvement with this film. Hansard, as lead singer of The Frames, met Irglova back in 2001 in the Czech Republic when her father had organized a music festival, inviting The Frames to play there. Hansard, a veteran of the Irish music scene for years, began supporting Irglova and her piano career. Hansard and Irglova soon decided to join forces as a duo to write and record and play live as The Swell Season, releasing their self-titled debut album in 2006. On the album appears the seeds of Once, with the tracks Lies and Falling Slowly seeing their initial release. It would be on the backs of these and other songs, a real-life relationship unfolding, and the chemistry of hope and promise that would spur on this film that is touching, romantic and bittersweet and one of the best musicals of the modern era. It’s also a film that positions romance not necessarily defined by sex or declaration, but by inspiration, openness and friendship. (more…)

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by Allan Fish

(USA 1928 115m) not on DVD

No honeymoon

p  Pat Powers, Jesse Lasky Jnr, Adolph Zukor  d  Erich Von Stroheim  w  Harry Carr, Erich Von Stroheim  ph  Hal Mohr, Ben Reynolds, Ray Rennahan  ed  Frank Hull, Josef Von Sternberg, Julian Johnson  md  Carl Davis (including various classics)  art  Erich Von Stroheim, Richard Day  cos  Erich Von Stroheim, Max Ree

Erich Von Stroheim (Prince Nicholas Ehrhart Hans Karl Maria Von Wildeliebe-Rauffenberg), Fay Wray (Mitzi Schrammell), Matthew Betz (Schani Eberle), Zasu Pitts (Cecelia Schweisser), Maude George (Princess Maria Immaculata Von Wildeliebe-Rauffenberg), Cesare Gravina (Herr Schrammell), George Fawcett (Prince Ottakar Von Wildeliebe-Rauffenberg), George Nicholls (Schweisser), Dale Fuller (Frau Schrammell),

The opening caption to Von Stroheim’s romantic folly confirms that it is “dedicated to the true lovers of the world.”  That in itself might seem a supremely romantic statement, were it not for the fact that Von Stroheim is referring not just to physical romantic lovers, but to true lovers of any aesthetic, in this case Von Stroheim’s beloved Vienna.  He’s not the only master director to create love letters to that most imperial of cities (Max Ophuls did so many times a few decades later), but Von Stroheim’s films have an altogether grander quality.  They are follies, but also amongst the most grandiose statements in silent cinema history.  None of his classics can be seen as originally intended; Greed, Queen Kelly and Foolish Wives only survive in grossly butchered states, and The Wedding March is actually only part one of a story which was continued in The Honeymoon, which is now probably the most sought after lost film of them all.  Originally the second film finished on a note of doomed romance.  As it is, minus the second stanza, this poem to romance leaves a somewhat cynical but in some ways more realistic aftertaste. (more…)

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juliet-1

 

© 2014 by James Clark

      In the 1950s, actress Giulietta Masina starred in two films deriving from her husband, Federico Fellini’s, internationally consequential cinematic reflections. In one of them (La Strada) she richly embodied a young woman having run away to join a (ramshackle) circus act; in the other (Nights of Cabiria), she brought to glowing life a low-rent prostitute. Each of these movie charmers came replete with a kinetic repertoire directly transmitting not simply a strange gusto for life but an unmistakably (though undefined) dangerous gusto. Fellini’s researches into that danger came—after the steps that were named La Dolce Vita and –upon a means to exploit Masina’s former effervescence along lines of totally extinguishing it, giving us a figure bereft of kinetic/carnal cogency, namely, the Juliet of the movie in question here (from 1965). The upshot is a cinematic experience remarkably hard to warm up to, its attendant riot of sybaritic flare-ups notwithstanding. This package has inadvertently dragged along, for the sake of scuttlebutt in lieu of comprehension, a tide of marital and Jungian and Surrealist baggage, not to mention a charge of creative comeuppance for a lazy but canny millionaire. (As to that latter point, it is ironic that producing this attenuated horror vehicle nearly bankrupted the supposedly play-it-safe fat cat. That Jonathan Glazer’s recent minefield, Under the Skin [2013], could be seen as featuring a vastly [though plausibly] changed Samantha hitherto from Her, excitingly speaks to the endless investigative dimensions of the problematic of avant-garde film, which does not abandon history for the sake of the scientism of classically imprisoned perceptual phenomena.) (more…)

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Wings (1)

by Pedro Silva

“For the love song is never truly happy. It must first embrace the potential for pain. Those songs that speak of love without having within their lines an ache or a sigh are not love songs at all but rather Hate Songs disguised as love songs, and are not to be trusted.” in the words of Nick Cave on his lecture The Secret Life of the Love Song.

The romantic genre generally goes around a central love story and tends to come to an emotionally satisfying and optimistic ending trying to ignore the dangerous path that waits the few souls that have courage enough to love truly and unconditionally, and most times fail to create trustfully love stories.

Nick knows all about Love Stories, and his performance of “From Her to Eternity” on the punk-cabaret club where Marion wonders alone couldn’t be more appropriate. The title resumes the film and the lyrics of the song even refer to a man that reads the diary of his lover as Damiel hears the thoughts of Marion. Again “The Carny” lyrics and darkness are perfect to emulate her feelings about this particular moment in her life. The contrast is evident between Jürgen Knieper’s celestial score on the library scenes against the gothic darkness of Nick Cave and the Bad Seeds. (more…)

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Now Voyager (1942)

By Tony d’Ambra

 

“THE untold want, by life and land ne’er granted,
Now, Voyager, sail thou forth, to seek and find.”

-Walt Whitman, The Untold Want, Leaves of Grass (1900)

 

Novelist Olive Higgins Prouty chose the title for her popular novel ‘Now, Voyager’ from two lines of poetry by Walt Whitman. These words in the book and in the film are offered to a repressed spinster, Charlotte Vale (Bette Davis), the youngest daughter of a wealthy Boston matriarch (Gladys Cooper), by her psychiatrist Dr Jaquith (Claude Rains) as the key to freedom, to her making her own way in the world.  Away from the oppressive hold her tyrannical mother has over her.

Now, Voyager while absolutely a ‘woman’s picture’, significantly and importantly transcends melodrama. Yes, ugly duckling Charlotte finds love and purpose in two romantic hours of movie magic from Hollywood’s golden years. There is more than romance though. There is romantic love and passion, but also compassion. A compassion that sublimates romantic love to a familial love that from nurture finds fulfilment and a kind of freedom. (more…)

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