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Persona (1966)
Cinematography
I began my viewing of Bergman's Persona around 10:10 pm. The fellow occupants of my house were all tucked away while I sat on our ludicrously sized sectional. I positioned myself dead center in front of the TV. I had a warm decaf tea (3 decaf bags & 1 decaf early grey for the pot) and drank it from my Criterion Collection mug. I was all set to turn on the blu ray, the gray lower case "c" appeared on the screen and I became nervous. I was worried this film was too obviously something I'd like, but that it wouldn't connect to me.
The opening sequence is abstract, more than I had anticipated from a director like Bergman. These images would occur again throughout the film. In Persona we follow two women, one actress who ceases to speak during a performance and of her assigned caretaker. We first meet them in the hospital and then on a remote island. The nurse progresses from uniformed nurturer, to casually dressed confessional (her clothing unadorned, somewhat loose as she gradual unwinds some of her deepest held secrets) to black attire that mimics our mute actress and cruelty.
I thought the nurse turning toward something sinister, something complicated and confusing was excellent. In the beginning she tells the doctor that she thinks she ought to turn down caring for the actress, that she's too mentally fragile to be with one so mentally strong to simply decided not to speak. This signaled a sense of weakness in the nurse, a delicate nature. But her fragility is not wilting, but raging at all the silence brings out.
Bergman & Sven Nykvist paint such exquisite images throughout Persona. Some of them among the most iconic scenes in film history. They use white backdrops with brilliant lighting to amplify the shape of hands, fingers, their movements, the curves and angles of Ullmann & Andersson's faces in such magnificent ways. Then there are all those eyes that pierce with a gaze directly into the camera. Some are casual, almost, maybe dead gazes, some sorrowful, some brooding, arrogant, etc. I hope Ullmann's slightly furrowed, turned down glare never leaves my mind.
I found out from one of the supplements provided on the disc, that the original title of the film was Cinematography. Can one blame Bergman for such a title?
For now this sits at #93 (97%) on my Flickchart. I gave it 5 stars on Letterboxd. I expect it will climb after another viewing, but I want to give it a little time to settle in first.
Perfect Bid: The Contestant Who Knew Too Much (2017)
An easy watch
A fine documentary, but it doesn't have a particularly good pay off. The best of these type of docs following people obsessed with something is getting to know who they are and their unique personality. Perfect Bid never digs much beyond the surface. It is an easily digestible bite, perfect for a quick hit on Netflix.
Moonrise (1948)
Borzage gives a visual treat and a very good story of self examination
I only knew of this movie because I had seen it on a previous TSPDT list. Otherwise I knew absolutely nothing about it and assumed it was primed to be a maudlin romantic melodrama. While it isn't void of any of those characteristics, Moonrise is a film noir that centers around themes of coming to peace with one's self and family.
Danny Hawkins is our lead character and we open with his father being put to death by hanging. Followed by montage of him being bullied by his peers due to his father's misdeeds. Murder, hidden lovers, hound dogs, wise country folk, and snooping lawmen abound. But all of that serves a story about a man coming to terms with his life. Director Frank Borzage, a Hollywood vet by this time in his career, creates beautiful image, one after another. He throws in a few nice noir-ish shots that are just cool, but (pardon my lack of technical knowledge) he consistently shoots characters close up, top of chest to head. I'm not clear why it is so effective here, but Borzage often creates a sense of depth and visual emotion each time. I loved it.
Downsides:
The story of Moonrise didn't engage me as much I would like and the lead, Dane Clark, was serviceable at best (I did enjoy Gail Russell a good deal and wished her character didn't fade so far into the background as Moonrise reached its climax). However, knowing what the story is trying to do could make a second viewing a more enthralling experience.
All in all, I had a very good time with Moonrise. Thank you gifter!
It entered my chart at 67%.
The Zero Theorem (2013)
An Updated, Less Cohesive Brazil
I suppose this could be considered as a part of a dystopian trilogy by Gilliam. It fits right into the themes, characters, and aesthetic universe of Brazil & 12 Monkeys. However, where those previous films kept themselves somewhat grounded (there is an intentional gray-ness to all of Brazil and filth to 12 Monkeys), The Zero Theorem embraces much of Gilliam's cartoon-styled costuming and acting extravagance found in his other work.
Christoph Waltz plays a paranoid, isolated, computer programmer who lives in a dilapidated cathedral. There he programs, receives virtual therapy from Tilda Swinton, and waits for his phone call. Eventually, his skills are noticed by Management, and he setup to work from home on the Zero Theorem, they may or may not provided a mathematical equation on the meaning of all things. Just as in Brazil, Waltz's character comes across an supervisor/friend enthusiastic for figuring how to work within the system, another capable of operating within & outside, and a woman representing freedom (played effectively by Melanie Thierry).
The more I actually think about it, The Zero Theorem takes a lot of its structure from Brazil, but aims less at the government and more at modern society & global corporations. Only it is all more heavy handed, a seemingly a little less purposeful or sure of all its decisions. Nevertheless, I'd rather see a director swing big end up with something of a jumble, than just not try at all.
Entered Chart 1,100 (63%)
Das weiße Band - Eine deutsche Kindergeschichte (2009)
Excellent
According to the director the film is about the danger of elevating ideals of any sort into absolutes, which leads to terrorism. Cautioning the viewer to not simply equate the film with fascism because it is German, but to understand it more universally.
I am not certain if I grasp the film in the way the director apparently intended though. My original reaction was looking at the flaws under the surface of an ordinary village. The film then ends its story without closure, by plan, which left me a little empty at the end.
i thoroughly enjoyed the film. It was wonderfully acted, directed, with great photography, and art direction. There was nothing to dislike about the film. The European Protestant pastor/priest being an overbearing, dominating, relentless task master is becoming stereotypical but it so well done here (the pastor is given humanity. He loves his children, watching his facial expressions as one of his youngest displays sacrificial love to him, is touching. One wonders if the pastor has ever experienced such an act of kindness).
The White Ribbon will be a movie I'll keep thinking about. Highly recommended.
Beerfest (2006)
It just wasn't funny.
Beerfest by Broken Lizard is just not funny material. Every aspect is over-blown and most jokes are the easiest and most obvious. They then repeat every obvious joke over and over and over again. The story isn't a necessarily bad one, it allows for a lot of potential fun and parody. The comedy troupe simply never seems interested in thinking about it, settling for tired, overused stereotypes without adding anything fresh or new.
I was surprised at how poorly constructed the film was and how awful the two lead actors were (they weren't this bad in Super Troopers by any means). Beerfest, from the jokes, acting, and directing just felt like a lazy exercise.
Vidal Sassoon: The Movie (2010)
A fine film that surrenders to idolatry
Two thirds of Vidal Sassoon: The Movie is wonderful. One can forgive it the hyperbole in which it describes and introduces the viewer to Sassoon, referring to him as a messiah and an essential aspect in the birth of 60s culture (not to downplay his iconic hair designs but I think the 60s would have gone on unimpeded even if the five-point cut wasn't created). Nevertheless, the film makes people, like myself, who know relatively nothing about hair design and even less about hairdressers, drawn into the story of an orphaned Cockney hair stylist.
The background of Sassoon's life is interesting and the creation of his iconic hair cut (using German Bauhaus influences) was both educational and entertaining. Sassoon speaks with such warmth and passion that one cannot help but take part in his joy of looking back.
However, the film begins to take continual missteps toward the end. Difficult aspects of his life are glossed over; his three divorces, the death of his daughter to an overdose, the fact that he regrets selling his company, potentially negative views of his strict professional code, are all left untapped. Instead, the film inserts useless information about his health regime and closes by nearly deifying him for his charity work while his fourth wife sings ceaseless praises about his character.
The first 2/3rds build the story of an interesting man, who worked with endless determination to become the icon of his profession. But the film is afraid to let us actually know who Sassoon is. Stopping short of giving us depth by further examination of his failures and tragedies, the film heaps worship upon him. Regretfully moving the film away from being Sassoon's personal history and instead making it his personal highlight reel.
Rise of the Planet of the Apes (2011)
Intelligent and Pure Fun
I give "Rise of the Planet of the Apes" 7.5 stars
I truly enjoyed this film, one of the most enjoyable film experiences I have had in a long time. Rupert Wyatt directed the movie with perfect pacing, filling the background of the story with the correct balance of warmth, drama, and action before the climatic battle. Wyatt's pacing was patient but never slow, allowing the story to unfold naturally. We get to see the story of Caesar, the simian version of Spartacus mixed with a dash of Moses, rise to power and cheer for him along the way (Andy Serkis is brilliant, yet again).
"Rise of the Planet of the Apes" is a smart film and it allows all of the people who love to over analyze things (aka geeks like me) to have a heyday. The way the apes grow in power is very much in keeping with the rise of early human civilizations. One can also interpret the entire Planet of the Apes narrative as a racial allegory, which Wyatt plays to, with some scenes alluding to the civil rights movement. Nevertheless, it is important not to over-think the film. "Rise of the Planet of the Apes" is a fun a movie and that is its chief intent.
If there is a negative to the movie, I think Freida Pinto is a bit stiff throughout the film. The acting of James Franco, John Lithgow, Brian Cox, Tom Felton, and David Oyelowo, all hit the right notes, playing their generalized character archetypes very well. Pinto though came across a little wooden to me and her character is unnecessary, acting mostly to add to dimension to Franco's idealistic scientist (and to increase female viewer ship). However, this is a very small qualm.
"Rise of the Planet of the Apes" is a wonderful summer sci-fi action blockbuster that can be enjoyed by the whole family. It is a smart film, never over thinking its subject matter but never playing down to the lowest common denominator. I cannot wait until the next installment of the rebooted Planet of the Apes narrative.