shelleyannleedahl Reviews

Fur: An Imaginary Portrait of Diane Arbus (2006)

A " Must See Again" Film

[10/10 · 14 January 2007]

Had I taken to heart what the movie reviewer in my local paper had written about this film (and his 2.5 star rating) -- I would not have gone. Fortunately, I checked out IMDb and read that someone had compared it to Jean Cocteau's avant-garde "La Belle et La Bete." Enough said. That commendation, and armed, as I was, with the knowledge that Nicole Kidman has done some exceptional films in recent years (particularly "The Hours," "The Others," and one of my all-time favourite psychological thrillers, "Dead Calm"), I was off to the local art film theatre to join the sparse (perhaps a dozen?) audience of viewers.

In short, this film has set the bar extremely high re: all other films I will see in 2007. One finds not only the influence of Cocteau in the film, but also of Kubrick, Hitchcock, and even of Maya Deren. (ie: there is a stunning image of Kidman/Arbus crawling out of the sea -- a few moments of sheer poetry -- that are reminiscent of Deren's "At Land.") (Also, perhaps a little Jane Campion with the underwater shots near the end.)

This is a decidedly painterly film, with everything from Arbus's dresses to the evocative interiors of Lionel's museum/carnival-like apartment and the film's textures worthy of commentary in both film classes and post-film chats with friends. Contrasts are integral to this film. The paint-peeled walls provide an interesting contrast with the elegant satins and aristocratic dining accoutrement (tea pot, cup), and parallel Lionel's declining health. Arbus's smooth skin vs. Lionel's fur. The staged symmetry of Arbus's husband's white-washed, commercial photography vs. the brilliant chaos in Lionel's apartment. Arbus's wealthy, "proper" parents vs. Lionel's menagerie of "freaks". Many of the shots are framed in interesting, geometrical or architectural ways, or echo camera apertures. The use of the colour blue in some scenes is breathtaking.

Great line -- (not verbatim): Allan Arbus -- "I'm a normal guy, now I have a hole in my ceiling and freaks coming through it."

I also felt the chemistry between the principal characters (a rarity), and believe the pacing greatly attributed to the overall success of the film. The framing -- with the nudist camp -- underscored the change/growth in the protagonist.

As my 20 year old daughter said upon leaving the theatre -- "This is the kind of film that really makes you want to live the life you were meant to." Here here. "Fur" gets five big, bold, blazing stars. It is, quite simply, brilliant. Please, tell your friends.

Hard Candy (2005)

Exceptional film, aptly titled

[10/10 · 14 January 2007]

There is little not to admire in this bizarre, intelligent story about a precocious 14 year old -- the actor Hayley Stark, whom one cannot take his/her eyes off of -- and a pedophile 32 year old. Even in its opening scenes, when matters progress as one might expect, viewers sense that this film is going to be unique.

I could laud the acting, the mis en scene (note how all the colours are presented in solids; the extensive use of the red wall -- symbolic, in part, for blood in the film's central scene); the fact that many of the shots are done in close-up, so the characters are literally "in your face" and you can't look away; the unconventional plot; and much more, but what was particularly striking was a single image -- on the rooftop -- near the end of the film. You'll know it when you see it. That one image is like an excellent last line in a short story: even if the film was not already consistently superior to most contemporary films I've seen in the last five years, that single, memorable shot would redeem it, as a resonant last line can redeem an otherwise mediocre story.

At times, my sympathies transferred between the girl and the man -- a testament to the quality of the acting, on both parts. If I have one criticism, it concerns the scene with Sandra Oh -- it was almost jarring in its disparity within the rest of the film. A nod toward comic relief? It just didn't work for me. Perhaps the part was miscast.

The story also raises many interesting and, to this writer, unanswerable questions regarding the practice of photography and children. When does it cease to become art and instead become lecherous voyeurism, or pedophilia? Also, questions regarding intergenerational friendships between men and adolescent girls. Are they not possible without sexual under/overtones? The film makes a statement re: internet chatting, which, could lead to spirited family or classroom discussions. And finally, it also raises questions about crime and punishment.

Bravo to the writer for giving us a young protagonist who is articulate and mature, yet still entirely credible. This is definitely a film to recommend, and to watch more than once. Unfortunately I missed it when it was in theatres. Fortunately I can rent it at my local Rogers Video, and watch it with my daughter.

Hard Candy. Perfect title for a provocative film that, for some viewers, might be particularly hard to chew.

House of Sand and Fog (2003)

A personal Top 10 film, and one that teens need to see

[10/10 · 13 August 2005]

Why in the world did it take me so long to see this film? Even at this relatively late date I will be recommending 'House of Sand and Fog' to anyone who appreciates intelligent movies. Ben Kingsley's haunting performance left me staring at my ceiling in the middle of the night.

In recent years only two other movies have struck a similar emotional chord in the instrument that is my heart: 'Monster's Ball' (for me the relationship between the disparate leads in 'House of Sand and Fog' is a distant echo of the emotional desperation that brought the leads of Monster's Ball together), and the mesmerizing Canadian film 'Flower and Garnet' -- another veritable billboard for human pain.

The only note that didn't ring true was the over-the-top scene where Eldard's wife freaks on him at the police station with the kids right there -- and pleading to daddy -- in the vehicle.

This is definitely a discussion-provoking picture. I watched it with my 19 year old, and because it opened a window into a world in which we have no direct experience -- the plight of some immigrants in North America -- it led to a serious (and, I believe, important) discussion. Also exceptional was the portrait of depression. Teens need to see this film.

Although fog-filled, rays of light shot through in the kindly characters of Kingsley's wife and son, who were empathetic to 'Kathy' (Connelly) all along.

All Ben Kingsley and Jennifer Connelly films, here I come.