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Reviews
Alison Krauss & Union Station Live (2003)
The traditional and modern blend like mashed potatoes and fried chicken
However obscure this tight little band might appear by the lack of votes here at IMDb, they have been making significant contributions to the Bluegrass music scene for over a decade. With soundtrack installments to films such as Twister, and Oh Brother Where Art Thou, I am truly surprised that their popularity has not gained more momentum. This particular illustration of their talent is a filmed concert in Louisville Kentucky's Palace Theater where the audience is enormously receptive for obvious reasons. Being a native of Kentucky myself I probably have a bias when it comes to this type of music. Be that as it may, the concert in its own right is a wonderful example of the modernization of Bluegrass music and here is a group that never over steps its boundaries as do many neo-Bluegrass bands. If you have an interest in Bluegrass music or want to spend a couple of hours with a group of musicians who will truly entertain you, take it from an old hillbilly you won't be disappointed by these folks.
Slightly Scarlet (1956)
I like my John Alton neat.
I tried to make this short but there is a lot to be said about this very interesting tail-of-the-cycle noirish yarn. It may seem that I discount this film as nothing more than an conceptual experiment gone awry. The use of color photography is so far misplaced it actually folds back onto the film like some Einsteinien cosmic quilt and provides a surrealism that in some ways compliments the noir attitude. However interesting that may be, it really is about as far as the overly saturated color gets in terms of complimenting the overall film. I have made some effort to find out if Alton actually felt that Slightly Scarlet should have been filmed in color or not and have found nothing readily available that says either way. I'm inclined to fantasize that in pre-production sessions there were gun blazing arguments about how the color would enhance or distract from the effect of the story and I can only imagine that Alton must have been virtually unarmed.
My first comment that this is noirish, not film noir, is not solely because of the color but because the film lacks too many of the classical tenets of film noir to be considered anything more than an urban crime drama. Only with respect to the Ben Grace character and his seemingly chameleon ability to go with the flow does it provide the moral ambiguity that is inherent in all films noir. Make no mistake, he is a very nasty fellow. All other character moralities are easily discerned as good-guy bad-guy; that includes Dorothy who is what she is because of a psychological illness and not because of decisive moral indiscretion.
There are some terrific noir moments while watching Solly and his henchmen strong-arm their way into city government which leaves no doubt that these guys are gonna burn in hell. But that is not enough for me to toss the accolade of film noir. The narrative, while very watchable and with enough twists to keep interest high, does not allow fate to intervene as it does so fluidly in films like Out of the Past and Double Indemnity. Don't misunderstand, if your looking to watch a film noir and you have seen all the heralded classics, this is not a waste of your time. It is a notable film and deserves far more recognition than it gets. I give it 4 outta 5 stars.
Of course a theatrical screening at the Egyptian in Hollywood would be the preferred venue but on DVD we have full control of the color guns on our video sets. Fortunately with the DVD we can have our cake and eat it too. I strongly suggest that you view this film at least twice before you make any decisions about its quality. Watch it in its intended colorscape then watch again in B&W. First in point, it is one of only a handful of films by Alton that is available on DVD in anamorphic wide screen. That alone is important and contributes to the overall luscious appearance of this DVD release. Secondly, after viewing the film in its yes very garish color, you can enjoy an almost entirely different film by turning the color off on your set and reviewing simply for the classic Altonesque photography. You will be amazed at the contrast in the overall feeling of the film. Not just because it is B&W but more so because of the mise en scene and deep focus that makes film noir so interesting. So as to film noir or not film noir, that is a consideration I'll leave to individual viewers and their own interpretations. I doubt it will be argued by anyone that the cinematography by Alton - when viewed in B&W - is anything but glorious noir at its zenith and well worth the time spent to view twice.
Dancer in the Dark (2000)
Don't get caught up in the hype
A rose is a rose and fertilizer is fertilizer.
If someone threw fertilizer on a canvas and swiped it around masterfully with a 6" house painters brush it might be called art but it would still stink. Artistic style is not style unless it endures the test of time. This film will fade along with all the forgotten efforts that are merely fashionable for their time. Deviation for deviations sake does not constitute style and that is where I place Von Trier's work on Dancer in the Dark.
Contrary to many opinions, there is absolutely nothing honest or realistic about this film. The so-called stylistic camera work is simply amateurish at best. The acclaimed voyeur sound and lighting is actually muddy and cliche. The acting is particularly bad considering the wealth of talent that was employed. I must attribute this to poor scripting and a blatant lack of direction. I've seen better acting and direction in a B grade 1950's science fiction movie. The surrealism invoked by the musical daydreams is so ridiculous and misplaced that I'm sure if any of the forefathers of surrealism were alive, they would sue. The story line is completely without merit. There is no redeeming quality in the main character as many are led to believe. The sacrifice that is alluded to is no sacrifice at all. It is merely a blatant act of stupidity followed by a complete abandonment of friends and legal prowess. Unbelievable in every sense of any investigation or legal defense for a murder case. How could any truly loving parent get talked into such a path of destruction and perform such an idiotic act is beyond me. Viewers that are blinded by the directors manipulation of the emotions should step back and consider the child. Ok, he can see now; does that replace the need for a caring and nurturing parent. I hardly think so.
The end sequence is paralyzingly rank. The only compassion I could muster was for the institutions employees because they had to live with themselves after it was all over. That is truly pathetic.
Basically, the only redeeming footage in the whole film is the 2 minutes of fabulous dancing by Joel Grey, too bad it didn't last the whole 2 hours and 20 minutes; I would have felt far more satisfied.
John H. Freeman
Titanic (1997)
A good film in spite of itself
John H. Freeman
The only reason I am writing a commentary on this film is to provide a note at the top of the heap that this film is, with all due respect to its box office record and glorious showing at the Oscars, a rip-off of one of the earliest, and indeed one of the finest of all disaster films. I am not referring to the 1953 film of the same title but to "A Night to Remember". Camron's "Titanic" is and most likely will remain a film steeped in critical controversy. It certainly will survive in spite of itself. This is primarily due to having some particularly good characteristics of successful film-making. The right formula for the right audience, delivered at the right time. However, if you truly want to see a stunning film on the Titanic tragedy, and are not hung up about the special effects needed to make a successful movie as are many movie goers these days, see "A Night to Remember". It is in every aspect a superior film. Totally unpretentious and never over the top. If you have seen "Titanic", you will gasp at every ripped off scene and wonder how the producers of "Titanic" ever got away with not giving credit where credit is due.
Memento (2000)
You will not forget this film.
With a few exceptions Memento is a fairly common story. In no way is it a common film. This is one of the most cleverly edited films I have ever seen. The approach that director Christopher Nolan takes to tell us the story is the films strongest suit. This is not to say that the film is short in other aspects. The cinematography is superb. The actors deliver virtually flawless performances. The score is never overpowering yet facilitates the feel of the scenes as they unfold. The dialogue is intelligent and provoking. The action is never boring with its stark transitions working to an integral purpose.
The way the story is told is the essence of Memento and why it works so well. The story seems to play out in reverse. That is partly true. It is told from the end AND the beginning towards the center, or summit if you will. The audience ultimately discovers the protagonist's true motivation and comes to understand the reasons behind the seemingly disjointed activities they have witnessed.
The film opens with what is surely the end of the story as the titles are presented. Unlike the rest of the footage, this scene is truly played in reverse. This is the story's ultimate conclusion. However, after the opening titles are played, the first forward moving scene is of the protagonist in a motel room trying to adjust to his strange condition. This is the true beginning of the story time line. The events are played forward in time and backwards in time, in parallel toward the astonishing final revelation. The forward sequences are presented in black and white while the backward sequences are presented in color. This interplay continues through out the film until the final segment where the two time points converge on the ultimate tension of the story. At this convergence and within a single scene the black and white footage smoothly emerges into full color. Even though they move forward in time, the black and white scenes are actually retrospective of the main character's experiences that lead him to his understanding of his condition. The affliction that the protagonist suffers is described through the experience of a third person whom we are, at a point in the story, led to confuse with the protagonist. The truth is revealed at the climatic ending of the film; which as it turns out, is the summit of the story. Everything becomes clear to the audience as to what the beginning of the film had revealed.
Memento is without a doubt the most effectual use of editing and story development to involve the audience with the problems of the protagonist that I have ever witnessed. Memento is a masterful film that will surely become an example used in film making colleges for years to come.
John H. Freeman
Gattaca (1997)
The most gorgeous science fiction film I have ever seen.
Beneath it's gorgeous cinematography lies a truly remarkable look at science and the direction that genetics and genetic engineering could possibly lead our society. We are sent into a world where the foundation of social and political structure is matter-of-factly controlled by genetic engineering as an integrated part of our lives. We are introduced to characters developed so finely and a plot so unique to the genre that we forget that we are watching science fiction and become deeply involved in the struggle of the protagonist on a very intimate level. Not since Blade Runner has science fiction provided such intelligence in dialogue and sensitivity to the inner emotions of the characters. Ethan Hawk is very believable and extremely personable as the main character. He is portrayed in masterful contrast with Jude Law who delivers the pathos of his character to a degree never before seen in a science fiction film. Uma Thurman is stunning as the object of Hawks tension and provides a perfectly mysterious character. Layered with the main plot is a very smartly developed sub-plot that keeps the momentum of the story from ever falling flat. A slightly predictable surprise ending is not the least bit distracting to the overall presentation. This is the most believable science fiction film to date. The acting is superb. From the opening titles to the closing credits you are mesmerized with stunning visuals. There is nothing over done and nothing left behind. The movement of the story is consistently paced with no gaps in the development of ideas. If you like monsters and action-packed adventure in you sci-fi soup, this is not your film. But if you are looking for a brilliant story, an intriguing plot, believable characters and thought-provoking message delivered by some of the finest actors of our time, you will not be disappointed.
John H. Freeman