by ·Comments Off on Flying Down to Rio (1933, Thornton Freeland)

Kind of a clunky picture about a lovestruck band leader who takes his group to Brazil and falls for a local firebrand. Lots of time wasted on groany romantic drama between musical numbers, then the nine-minute songs wear out their welcome until I start hoping for the return of the groany drama. It’s saved by the charisma of the band members and some light filmmaking flourishes – over-the-top musical bits with oddball camera placement and silly-ass graphic transitions between every scene – brought to you by Thornton Freeland (directed Brewster’s Millions) and D.P. J. Roy Hunt (who also shot I Walked With a Zombie – someone needs to look into this guy). I don’t remember anymore why we watched this in film class at Tech (following Wings and Things To Come), probably something to do with 1930’s audiences’ love and fascination for new technologies such as the aeroplane (“electric tie rack! rackin’ up electric ties!”).

Something like Ginger Rogers’s 25th film, but Fred Astaire’s first, and it’s remembered for that. Central music number The Carioca was oscar-nominated, but beaten by Astaire & Rogers’ follow-up The Continental from The Gay Divorcee. Both songs are five minutes too long, so I’d like to cast my belated vote for the third nominee, Bing Crosby and Miriam Hopkins’s cross-dressing college gangster comedy She Loves Me Not.

Dolores del Rio was harmless in this, would turn up in Journey Into Fear with Orson Welles a decade later. Less harmless was star bandleader Gene Raymond, our blonde German-looking chunkhead romantic lead. Suppose I might have to see him again in Mr. and Mrs. Smith or If I Had a Million, but mostly he had the courtesy to stay out of the more acclaimed movies of the 30’s. Good-natured gentleman Raul Roulien as Dolores’s family-arranged fiancee failed to make as much of an impression as did Etta Moten (“the first Negro woman to play a dignified role in pictures”) who sang a verse of The Carioca, or Eric Blore (Sullivan’s valet) and Franklin Pangborn (another future Sturges player) as comically uptight hotel managers in the opening scene.

by ·Comments Off on Elena and Her Men (1956, Jean Renoir)

I remember an early scene in which Elena (Ingrid Bergman) is trying to see the parade honoring Jean Marais, then a mutual friend takes her to meet him, and he seems to like her. Doesn’t she give him a special flower that she says will bring luck? Other things must happen after that.

by ·Comments Off on The Informant! (2009, Steven Soderbergh)

Sodie’s fifteenth film of the 2000’s. I like a filmmaker who can be good and productive, and there aren’t many of those left. And this was good for sure. Steven and the actors and production designers and music composer Marvin Hamlisch all seem to be having a good time, turning a low-key piece of mid-90’s corporate intrigue into a light comedy – the comedy being provided by Matt Damon’s character Mark Whitacre, his odd behavior and agent Scott Bakula’s incredulous reactions, as set forth in the trailer. We never do meet the “real” Mark, figure out exactly what’s going on in his mind – I suppose that’s because of the non-involvement of the real Mark, now out of jail and president of a biotech firm. The filmmakers taunt us by offering a voiceover of Mark’s thoughts, but only the most irrelevant non-sequitur thoughts.

Damon with wife Melanie Lynskey, who played one of George Clooney’s sisters in Up in the Air – and I didn’t realize she also starred in Heavenly Creatures:

The payoff is when the movie strays from the light tone at the very end. Whitacre is prosecuted for embezzling and lying to the feds, and ends up serving far more time in prison than the executives he had been working to successfully convict. The sleight-of-hand here at the end makes the movie more interesting than the straightforward hero story of Erin Brockovich (or Flash of Genius, I’m guessing). The supporting cast is peppered with comedians (Scott Adsit, Patton Oswalt, Dick Smothers, the little lovesick poet from Waitress) – strange, since there doesn’t seem to be any improv and no one gets to be funny except for Damon.

Paul F. Tompkins:

D. Kasman:

To hit a target as broad as a barn – American corporate atmosphere – Soderbergh and screenwriter Scott Z. Burns (who adapts Kurt Eichenwald’s book) narrow the subject as much as possible, getting just so the exacting blandness of 1990s corporate culture. … But a brief picture of The Informant!’s genre parody does little justice to the closet character study that emerges from Damon’s performance and the story’s deadpan plot twists. The crackling humor of the film—which comes from a myriad of sources—then builds off the inane, if not legitimately surreal impossibility that someone so high up and so well off would ever dare expose the horrible mechanisms behind their success and others’ suffering.

Good to see Scott Bakula, even if he’s under some very silly hair:

by ·Comments Off on Sweetgrass (2009, Lucien Castaing-Taylor & Ilisa Barbarsh)

For a few minutes I was mad at the Tara for projecting the film out of focus, not an unreasonable thought given previous disasters at that theater, but then I realized the movie was shot on low-grade DV – probably a good financial choice for a two-person three-year project, but less than ideal for landscapes, which the camera turns into mud. A would’ve-been-lovely shot of pack horses parading before distant mountains ended up looking like a blurry painting. K Uhlich agrees: “As subcultural anthropology, it’s unassailable. Yet the often ugly-looking DV aesthetic dilutes the cumulative effect. For every gorgeously low-res image (a blobby, white sea of sheep racing heedlessly toward their pen), there’s a correspondingly ineffectual visual or vista that one wishes had been captured with higher-end equipment and a keener cinematic eye.”

Jimmy wasn’t bothered by the camerawork so much as the editing, saying that each shot lingered too long, which became cumulatively frustrating. But we agreed it was neat overall, even if most of its value was in teaching us city folk how ranching works.

by ·3 Comments

Perhaps I’ve suffered my own bout of amnesia because I already can’t remember much of this movie. I remember it wasn’t as rapid-edit-afflicted as I’d heard, but then I realized that’s the two Paul Greengrass sequels that people have said each contain so many edits as to render the entire film a work of abstraction. I don’t see how that would be desirable, but I’m willing to give it a go. This one is by Doug “Swingers” Liman, who somehow pulled off a very competent, not over-stylish, gripping action movie before immediately falling under Greengrass’s shadow when Liman’s follow-up Mr. and Mrs. Smith was a critical bomb. Co-written by Tony Gilroy, all of whose movies I’ve been enjoying lately.

Matt Damon wakes up on a fishing boat after apparently having a change of heart about killing an African leader. The CIA doesn’t need an ex-superkiller roaming around, slowly regaining his memories along with a newfound conscience and thirst for vengeance, so bosses Chris Cooper and Brian Cox send bunches of faceless assassins (silent badass Clive Owen stands out just because he is Clive Owen) to stop him and hapless co-traveler Franka “Run Lola Run” Potente. Even with no memory (or because he has no memory: discuss) Damon is a super-effective instinctual ultra warrior who outthinks and outfights many assassins and possibly kills either Cooper or Cox, I don’t remember, before earning his Shawshank island retirement scene at the end.

by ·Comments Off on The Owl’s Legacy (1989, Chris Marker)

“It all began on a summer night in 1987. The idea for a television series based on Greek culture had just crystalized and we were facing a spectre which haunts the realm of the cultural documentary and that Chekhov defined for eternity: to say things that clever people already know and that morons will never know.”

Marker hosts banquets across the world and interviews subjects one-on-one (in front of giant pictures of owls), discussing Greece. Mostly it’s school, like a PBS doc without the music or the constant zooming around ancient photographs. Hard to stay interested, since I had no real curiosity about Greek culture, only a curiosity about Chris Marker’s movies (in the credits he’s listed as “skipper” and producer Jean-Pierre Ramsay is listed as “long-distance calls”).

Each episode is preceded by a disclaimer from the billionaire Greek funding agency distancing themselves from its content… way to go there, Chris. Something must have upset the rich people who thought ancient Greece would be a harmless, noble topic. Maybe it’s when Richard Bennett in episode six says: “Pythagoras was a great man. He was in the same league – I may shock some people here – as Moses, Buddha and Jesus Christ.”

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1. Symposium, or Accepted Ideas

Droney keyboard sounds behind scenes from Olympia mixed with war films. One minute later we are looking at a storehouse of sculptures, supposedly underneath the roundtable discussion, and I’m already put in mind of Statues Also Die.

“This was an extreme example, but the fact remains that Greece, or at least the idea of Greece, has been used to fuel the spirit of totalitarianism, and it still does now and then. All the more need, then, to look for that Greek word which is theoretically the safest antidote to totalitarianism… the word “democracy.”

“We have this horrid image of Greece as a land of light and harmony. Abysmal nonsense. Greece is a land of incest, murder, where Oedipus blinded himself … In Greece, moderation and order are won against reality and not as their birthright, hence their obsession with aphorisms. ‘Be moderate.’ ‘Do not exaggerate.’ I can’t imagine a Swiss or a Dutch with such obsession for moderation. The Greeks are obsessed with it, obsessed with going too far, because it’s their natural tendency.” – Cornelius Castoriadis

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2. Olympics, or imaginary Greece

It’s not in fact about the olympics, but about modern Germany’s relationship to and interpretation of Greek culture. The series can’t go on like this for eleven more episodes, can it? Interviews of people speaking in general terms about Greece and its perceived contributions to the current world? I will get bored.

Film clip of naked rituals from Paris 1900, a documentary which young Alain Resnais and Yannick Bellon both worked on, produced by Pierre Braunberger

Renate Schleisser:

Manuela Smith:

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3. Democracy, or the city of dreams

Democracy vs. oligarchy, and the terrible truth behind greek democracy. Nice cut to a clip of George Bush Sr. right as a guy says “the large amount of hypocrisy.” Nostalgia for when people were passionate about participation in the system.

Clips from the Greek episode of Marker’s 1969-71 On vous parle series – I didn’t know there was a Greek episode. It’s not on IMDB.

John Winkler and Elia Kazan at a dinner party:

philosopher/economist Cornelius Castoriadis:

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4. Nostalgia, or the impossible return

Much talk about Greek identity, nostalgia and homeland. I think I dozed off. Clips from a 1911 film and from Kazan’s America, America.

George Steiner: “The Greeks are nostalgic. Nostalgic for what? For everything and nothing. They have nothing left – it’s all in their heads.”

musician Angelique Ionatos:

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5. Amnesia, or history on the march

About Greece’s sense of history vs. our own. A segment on the person (and the film) Z. Jean-Pierre Vernant mentions that the word autopsy means “the act of seeing with one’s own eyes”. Vassilis Vassilikos says the country has always been a battleground because it links Africa, Asia and Europe. And I got hooked on the story of the first king of independent Greece after 1820, a Bavarian who didn’t speak any Greek.

author of Greek and Roman histories Oswyn Murray:

director Elia Kazan:

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6. Mathematics, or the empire counts back

All about logic and mathematics, with graphic examples in hyperstudio. Scenes from a Norman McLaren film and from something called Avant-Poste, featuring a totally-80’s feathered-hair blonde (it’s Arielle Dombasle, who I’ve seen in La Belle Captive) in closeup with tubular music playing telling us about Greek mathematics.

Daniel Andler gets brownie points for using owls in his example about uncertainty. I haven’t seen the dinner party for a few episodes now.

Michael Serres: “I wish the scientific heritage could recover its humanistic trail. I wish the humanistic heritage, also a bit lost at the moment, could recover its scientific trail. It’s one and the same heritage, but we are mediocre inheritors.”

The controversial Richard Bennett:

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There’s more (I only watched half of the series) but I’m stopping here for now. I tried to struggle through for the sake of Marker completism but I’m not terribly interested in Greek culture at the moment and can’t imagine that three more hours of this will help. Maybe I’ll pick it up again sometime.

Credits: Co-writer Jean-Claude Carrière was Buñuel’s co-writer for some of his best work, then worked on The Tin Drum and Godard films, and recently on Birth. Some of the cinematographers would work with Angelopoulos, Youssef Chahine, Jean-Jacques Beineix. Other interview participants included Catherine Belkhodja (star of Level Five), director Theo Angelopoulos, artist Matta, Arielle Dombasle (star of movies by Terayama Shuji, Eric Rohmer, Raoul Ruiz and Alain Robbe-Grillet), Yukio Ninagawa (Funeral Parade of Roses), Alex Minotis (Howard Hawks’ Land of the Pharaohs), Melina Mercouri (Jules Dassin’s wife/lead actress), computer-music pioneer Iannis Xenakis and Vasilis Vasilikos (writer of Z). André Dussollier (Love on the Ground, Wild Grass) apparently narrated the French version, but not the version that I’ve got.

by ·Comments Off on Izo (2004, Takashi Miike)

First time I watched this, I thought of Miike as a provocative ultraviolent action and horror director, based on Dead or Alive and Ichi the Killer and Audition. Most people still do, of course, since his quieter films (Bird People In China), his children’s films (Yatterman, The Great Yokai War) and his oddball art films (Gozu, Big Bang Love) don’t get as much attention. It turns out Izo is one of the art films masquerading as an action flick, and with that in mind, I enjoyed it much more the second time around. There are accepted ways of shooting action scenes or dialogue scenes, and these are not they. Miike uses strange and varied techniques to suit his strange, upsetting movie.

Tom Mes:

Taking the final scene of Hideo Gosha’s Hitokiri – the execution of homicidal 19th-century samurai Izo Okada – as its starting point, this was never meant to be any old chambara, but a meditation on mankind’s eternal propensity for violence and destruction.

From the oft-repeated plot description:

We learn that among Izo’s various guises was a doomed soldier who had to leave his lover (Kaori Momoi) to fight in World War II. He spares neither Buddhist monks nor schoolchildren, and eventually, Izo confronts Mother Earth (Haruna Takase) herself.

“Acid-folk” singer Kazuki Tomokawa is incredible, even if I’ve no idea what he’s singing – I have the old Cannibal King version of the DVD with no subs during the songs. Izo is crucified at the start of the movie, and born at the end, so I’m afraid a simple plot description won’t cut it, even if the songs were some sort of commentary. Lots of fun along the way, as he destroys hypocritical institutions, slaying religion and government (Beat Takeshi Kitano plays the prime minister and Ryuhei “Nightmare Detective” Matsuda plays the emperor), and a big fight with muscular black samurai Bob Sapp (a former Minnesota Viking) is an oft-cited high point. But he also spends lots of time killing innocents, moving down the weary ghosts of WWII soldiers, getting badly hurt and slow-morphing into a red-eyed demon as the frequency and repetition of the fight scenes start to wear on the audience.

That repetition is why many people seem to hate this movie. It’s accused of being slow and overlong, which I would partly agree with, but it’s more varied and interesting than the also-slow Sukiyaki Western Django – and even that one I expect will improve on a second viewing. Tons of cameos significant to people more familiar with Japanese cinema than I am. Learned from Midnight Eye that the soldiers stabbing Izo to death in the opening scenes are Kenichi Endo (father in Visitor Q) and Susumu Terajima (Takeshis’).

Ben Sachs:

To begin with the obvious: Izo is one of the most difficult works of art to be made in recent times. . . . The film is pure theme and variation, deliberately lacking consistent rhythm or sense of progression that would allow you to enjoy it casually. Still, nearly every sequence boasts some fascinating juxtaposition—between character and decor, between dialogue and action, in the way images are ordered—that makes it consistently striking to watch, if something of a slog to keep up with.

by ·Comments Off on In Praise of Love (2001, Jean-Luc Godard)

“The resistance had its youth and it had its old age, but it never went through adulthood.”

Godard already in his mournful history/memory/holocaust phase (of course, I keep forgetting this was made after Histoire(s) du Cinema). Very nice black-and-white photography and lovely, sad string music, then after an hour it turns to super-saturated color, very unique and wonderful looking. Story/character/intent-wise, though, I didn’t get the movie at all.

Part of it is self-referentially about making a film, trying to cast it. There are mentions of Henri Langlois, Robert Bresson, Hannah Arendt, Juliette Binoche, May ’68 and Max Ophuls. Didn’t feel any more like a proper narrative film than Notre Musique did. I’d say that maybe the small-screen experience wasn’t cutting it and I needed to see in a theater, but I saw Notre Musique in a theater and fell asleep. Maybe I’m not smart enough, or wasn’t prepared enough to tackle this one… it’s the kind of thing I’d be better off reading a bunch of articles before watching. I never figured out the love story, or the flashback structure, and even the filmmaking story seemed elusive. But probably it’s just because I’m an American, and it’s not for me.

“Americans have no real past. They have no memory of their own. Their machines do, but they have none personally. So they buy the pasts of others, especially those who resisted.”

There’s some anti-U.S. business, a character hating on the fact that U.S. residents call themselves “Americans,” textually taking ownership over both continents, and a slap at Spielberg (“Mrs. Schindler was never paid. She’s in poverty in Argentina”). Godard reportedly took time at Cannes to attack Spielberg further… guess he’s not thrilled that the current Cahiers crowd voted War of the Worlds as their #8 pick of the decade. C. Packman at IMDB says: “The film is a critique on Hollywood and how capitalism is destroying cinema and love. … The film succeeds in offering a philosophical problem, but demonstrates philosophy’s inability to enter into any realm other than the abstract. Godard here follows Marx’ dictum: ‘Philosophers have only interpreted the world, the point is to change it’.”

“When did the gaze collapse?”
“Before TV took precedence over life.”

No actors I’ve heard of before, and the one I liked best (Audrey Klebaner, above, as Eglantine) has never been in another film. Shot on 16mm b/w film and color video by Julien Hirsch (Notre Musique, Lady Chatterley) and Christophe Pollock (Up/Down/Fragile, Class Relations), but I can’t figure out who shot which. Punctuated by repeated title cards and blackouts.

Salon is ruthless:

Godard’s artistic deterioration has been particularly heartbreaking because, as his sensibility has atrophied, his visual gifts have matured. … The burnish of the images in First Name: Carmen, combined with the flow Godard shows in the editing rhythms and in the use of Beethoven string quartets to underscore the images, can lull you into thinking that something is actually going on in the film. … What it adds up to, though, in In Praise of Love as in the films that have preceded it, is a retreat, a shutting out of the world.

Slant calls it “an inscrutable rumination on memory and history that only Godard is meant to fully grasp.” I’m looking for raves, not pans – I watched this because it was on multiple best-of-decade lists. Reverse Shot goes gaga over the use of images, touches lightly on the story, and complains that the original title Éloge de l’amour (WordNet defines “elegy” as “a mournful poem; a lament for the dead”) has been translated to In Praise of Love.