Change Your Image
Emilyjkwin
Reviews
Gabbeh (1996)
Intriguing throughout.
Gabbeh is proof that expensive and complicated effects like 3D are no match for pure creativity. Even if you don't understand Gabbeh, which I admit, it will probably take a few screenings before it really makes sense sometimes, the visually stunning aspects of the film were enough to keep the attention of me and my peers. This Iranian gem begs the audience to think less literally and to peer into a foreign society. Gabbeh is in love with a man, who is heard as a wolf's cry in the film, yet her father will not let her be with the man. Stunningly enough, even when the uncle closes his eyes to allow her to leave, Gabbeh stays, illustrating her fearful loyalty to her family and to her values. Throughout the movie a rug is made, a beautiful one at that, and certain colors are weaved in for certain things. To further this aspect, a man teaching children shows colors by pulling them directly from the earth. For example, the man reaches to the sky and pulls his hand back which is now blue, yet the man reaches into a field of red poppies and pulls back a handful of them. These are actually believable instances in the film, showing incredible strength in editing. In other aspects of the film, the landscape that the nomads follow is beautiful and intriguing, from rivers to snowy mountains. Throughout the movie there is a juxtaposition of the young couple's forbidden love with that of an old man and his old wife, who mostly complain and cry a lot. At the end of the film we realize that this is Gabbeh and her husband, who eventually end up together. This bit is a tad confusing, but requires perhaps a few more watches, as mentioned. If you stick with Gabbeh, you wont be disappointed, it is something quite different from anything else you will have seen.
The Whole Shootin' Match (1978)
Hilarious regional cinema
The Whole Shootin' Match is by definition a regional independent film, complete with low budget production, regional actors, regional feel and setting, and improvised scripting. That said, it is surprisingly very entertaining. Its easy to see the charm in the film if you're from the area, some of the jokes are a entirely local. At the start of the film I honestly wasn't sure how much I would enjoy it given the content. Sonny Davis plays Frank, a man who's cheating on his wife and is trying to get rich. If you don't take this too seriously, it is a surface for comedy. Also, it should be mentioned that Sonny Davis is hilarious. He talked to my class after a screening of the film and I am so glad that I stayed. This film is quite endearing, perhaps because of Davis' explanation of its inspiration and the process of making the film, etc, which was entirely endearing on its own. The film's main characters, Frank and Lloyd, are quite a pair. Throughout the film Frank for some reason is owed a part of the credit to Lloyds' get rich quick inventions, yet his input was nonexistent. Frank cheats on his wife, and even when he confesses this to his wife and promises to try to be better, continues to flirt with other ladies. A local cop tries to woo Frank's wife and buys their son, T-Frank, a fancy bike which Frank refuses to let him keep. Despite how this sounds, the dialog is genuine and funny. A lot of the dialog in the film was improvised with practice, playing off of the actors own life experiences (Davis tells about his own father's "get rich slow" schemes) giving the film a "slice of life" feel. It's a shame that for several years the film was virtually lost, it is quite enjoyable. Despite your reservations about independent film, give the film a chance, it wont disappoint. There were numerous parts of the film that will have you laughing, and at other times you will perhaps be able to relate.
Tsotsi (2005)
Amazing film for all audiences. If it had a wider release, I would have taken all my friends to see it.
Tsotsi is excellent. The story is real, the locale is beautiful, and the acting is captivating. The decision to use local actors and film the movie in Tsotsi-Taal was risky, but the film is a perfect mix of Hollywood flair and worldly realism. The film does not feel at all like a documentary, yet the film features contemporary world issues in a way that is insightful. A personal favorite aspect of the film for me was the film's star Presley Chweneyagae that played David. This actor was a real find in terms of casting and I hope that one day he will star in more films. Throughout the film you find yourself noticing the depth of expression the actor possesses, with a full range of facial expressions and body language that bring the idea of redemption to fruition. Some may be a little discomforted by the film's violence, however this is not unrealistic in developing countries. In the beginning the main character seems like a detached and hardened criminal, yet as the film develops the audience can sympathize with the character as he undergoes a life transformation. Tsotsi is a character similar to an onion, obvious on the outside, yet as the layers are peeled back, and there are a lot of layers (think more layers than Emily Dickinson would wear), a redeemable and complex character is revealed. This film has everything: it is comedic at times, it is dramatic, action packed, realistic, and even romantic, a slice of life. This film is easily recommended even to those who don't really appreciate subtitles, as Tsotsi-taal is a mix of English and other local languages. It is refreshing to see a film set in Africa where there are no lions, the whole set is not a sandy desert, and people are not running around in loincloths like Tarzan. I'm sure this is realistic in plenty of secluded places, but certainly the term "under developed" or "developing" countries does not mean from an ancient base, the locals do wear normal clothes, subways exist in the area, and the problems that we face all over the world, such as gang related crime, poverty, and disease, are all very real there as well. That said, I would like to point out that when Tsotsi is running back to the township after crashing the car he stole, the use of flashes between adult Tsotsi running and child Tsotsi running was brilliant, introducing the innocent nature of the character. Beyond this point, although Tsotsi has no clue about how to take care of an infant, it is amazing how Tsotsi's internal need to care for the child, remembering how he got to this place in his life, brings about his change from a life of crime. I give much more praise to this film, but you just have to see it.
Stranger on the Third Floor (1940)
Lackluster, perhaps, but generally entertaining
The style of Strangers on the Third Floor is striking, defined by the film noir style it was made in, however perhaps not as interesting as I had expected. The plot is fulfilling in general, however the film feels as if suspense should build in not knowing who the murderer is, yet we know all along. That said, Peter Lorry genuinely creeps me out. Lorry's performance leaves you wondering which is creepier: the fact that he is a murderer and is creeping around in the lives of the other residents, Mike and Jane, or the fact that the character is so eerily aware of his crime, and psychologically warped in this way. Nonetheless, the film is most enjoyable in its display of noir characteristics such as the main character's stream of consciousness. For example, as the character Mike trails along the street and we hear the stream of thoughts going through Mike's head, we can see where the style often spoofed in cartoons and the like was born. The character walks along side the local diner and you begin to wonder if this concept was more ground breaking at its induction, as now it is often used within the bounds of comedy. In the long run the film was a little mediocre as the female lead is constantly whining helplessly as the plot thickens. Made only a year after Hollywood's most famous year in film, Stranger on the Third Floor leaves you feeling as if something is missing. The gritty style of the film is quite interesting, and overall it is quite entertaining, although maybe not a favorite. What gives the film this feel isn't obvious. The film suggests that although one man may be the killer, perhaps hate for a person can be just as powerful as the main character considers the fact that he once threatened the victim quite harshly. By the end though, the man who we knew, and the characters knew, was the murderer ended up still being the murderer despite the feeling that perhaps there would be a surprise in the outcome.
Paisà (1946)
An entertaining Italan Neo-realist film
Paisan is an Italian Neo-Realist film presented as six episodes, each distinct from one another. Although the plot is not weaved through the six episodes, nor do characters pass from one to the next, the early concept of this film likely inspired the idea for film's which use this technique. Paisan is very real, shot on location, and as several Italian neo-realist film's were, shot in the ongoing action of the war. As such, some of the dialog is dubbed over in post-production, but the idea is still there. If you can accept the roughness, or perhaps embrace it, the film has something to offer for every part of the audience. Some of the episodes of the film are comedic, while some are more romantic. The first is hard to follow at the start, but as the trust and friendship between the American soldier and the native girl grow, the world presented in Paisan opens up. Rosselini uses some non-professional actors, and a semi-documentary style to depict the lives of the Italian people fighting against fascism. While most of the episodes end bittersweetly, or sadly, the stories themselves are captivating. In one episode a boy steals a soldier's boots while he is sleeping, however it is later seen that the boots were much more valuable to the boy than the soldier in the misfortune that surrounds the local people. The film is great as an aid to understanding the condition of Italy during World War II. At times the plots in each episode may take a while to develop, but if you can keep your attention on the film you won't regret it. The events in the film are realistic, but melancholy, and because the episodes are brief, the actions are frank. Most of the film's audience can find things to relate to, or will find at least one episode of the film to be fairly entertaining.
Simón del desierto (1965)
A favorite among cinephiles and film scholars
Make no mistakes, this film directly satirizes and criticizes the Catholic church that Bunuel found himself at odds with. While quite worth viewing, the film is not appropriate for children, nor is it a typical narrative adventure. The film can be quite funny at times, pointing out facets of the church and religion which can be perhaps contradictory. While it seems ridiculous, it so happens that people actually did get on top of pillars and prophesize/sermonize, the irony being that the people were being looked down upon by the pillar prophets. Not all viewers will appreciate the cutting humor or satire of the film. In the film the devil is represented by a woman. The woman who is Satan is often tempting Simon, topless, or is all of a sudden an old and undesirable hag of a woman, without missing a beat. The devil taunts Simon in humorous ways, at one point punting a lamb. While it felt that the film moved a smidge on the slow side, it is cut short as the director ran out of funds for the production. The ending is abrupt, but still resolves the plot, which is untraditional, yet intelligent and sophisticated. The film is not for the average audience, but is a favorite among film scholars and cinephiles. Younger film scholars should perhaps view the film multiple times to get the full effect of the film, as it requires full attention to catch the subtleties included in the plot. The film's title may present itself like a sword and sandal film, but is in fact completely unconventional in its execution. There are plenty of sandals in the film, few swords to be found except those used to form metaphors and satires of idiosyncrasies. For example, Simon, who is considered to be most holy, refrains from interaction with the public, and is withdrawn from people and overall temptation. However, it is quite ironic that he still retreats to the devil in the end, where he is transported to a club where people are dancing. While Simon is among people who are dancing in a trance like matter, devil present, Simon still continues to opt out of participation or interaction, yet he has technically given in to temptation anyways.
True Heart Susie (1919)
A fantastic silent film
D.W. Griffith's True Heart Susie is quite an enjoyable film in the realm of classic silent movies. While Griffith's The Birth of A Nation, or Intolerance are more well known, True Heart Susie is definitely much easier to follow and much less controversial than his other films. The alternate name "The story of a plain girl" is an apt description. While many would argue that there are few "plain" facets of Lilian Gish's image, her acting is revolutionary in its subtle and muted nature. Prior to Gish, most actors and actresses acted on a much more grand scale in terms of expressions, thus the stereotype of dramatic faces and actions in silent film, as if every moment was pivotal and life changing. If given a chance, this is a very stomach-able silent film, and will be endearing if you are a willing audience. The story is one of unrequited love, as Susie is passed over by the object of her affections for a more outgoing girl. Susie is very much the good girl character, even taking in the untrue woman who is married to the man she loves, and caring for her when she is sick, although bitterly. The plot gently reminds me of Gone With the Wind, but only very gently. Susie is not as successfully independent as Scarlett O'Hara, but this film is from a different time. Susie in today's terms would perhaps be the anti-feminist, as a hopeless romantic who's motivations are mainly rooted in the happiness of a man, however in the context of the very early 1900's Susie is as much of an independent woman as Scarlett would have been. Susie can fend for herself, and although the world in the movie see's her as plain, the audience can see that she is full of natural beauty.
Gojira (1954)
Much more than just a monster movie.
Gojira is much more than I had previously imagined. Having never seen the original version of the film I envisioned the film to be a cheesy and entirely not serious film, the subject of many parodies and jokes. What was presented, however, was a commentary of the fears of the effects of radiation in Japan. The film is shot from a lower height than most, Ishiro Honda's intention of it appearing to the audience from the position of someone sitting down with the characters. This technique is effective at placing the audience within the context of Japanese culture and customs. The film is really more of a drama or a love story at times, while an adventure at others, than a film simply about a sea monster taking over the country. Gojira will surprise you with its stunning visuals and ability to pull you in. Despite my first impression of what the film would be like, I found myself quite enjoying every aspect of it. The image of Gojira (Godzilla) will make you laugh when standing away from the film, however in the context of the film the audience find's themselves actually ignoring the majority of the monster's primitive image. The film approaches the character gently, not over introducing the creature, and for the most part using clever techniques to make it seem less like a comical or cartoon-like dinosaur. The acting throughout the film is well done, and from it arises a love triangle between the female lead and two men, a scientist who loves her, and a man who wants to marry her. In the backdrop of the film, Gojira's damage to the country shows the devastating effects of radiation as the injured and dead are gathered and many mourn losses of family. Gojira perhaps represents the possible problems arising from atomic development and usage. The creature is ruthless, however the professor in the film wishes that the people would let Gojira live, and at times you begin to feel sympathy for the professor's wishes, given the amount of dedicated work that is done on other dangerous species of animal, as well as the rarity of such a creature existing. Overall, the film was exciting, surprising, and quite entertaining.
It's Always Fair Weather (1955)
An instant and charismatic classic
An instant and charismatic classic, MGM's "It's Always Fair Weather" is a playful spectacle the likes of which are seen in "Singin' in the Rain." The story is easily endearing, beginning with three GI's returning from war, the best of friends, promising to meet again in 1955. While perhaps not the most popular musical, the songs in the film are sweet and clever and won't disappoint. Gene Kelly is as brilliant a dancer as ever, showcasing his talents on roller skates as if they were merely tap shoes. Likewise, Cyd Charisse is a headstrong female lead with quite a few talents up her sleeve, outwitting most of the men she encounters in the film. The dance numbers in the film are impressive, occurring in places like boxing rings. Perhaps one of the most interesting observations is the films references to television at the time, as well as its competition with the film industry. The film makes a point to inform you of the inferiority of television in its size and aspect ratio, as well as quality. Overall, the film has a nostalgic appeal and an aesthetic of Hollywood in a decade of spectacles. The film is perhaps less iconic than other musicals of the time, but it certainly has its place in film history. The three main characters, Ted, Doug, and Angie all have their own quirks that develop as time passes, shown by photos in succession of each of the men's lives. These quirks are central to the plot as the three no longer get along as well as they did when they had just returned home, a disappointment for all three of the men. The plot occasionally drags, although but not enough to discourage viewing. Gene Kelly's charismatic acting, singing, and dancing make up for any occasional slack in the plot's movement. Throughout the film Gene Kelly's character is running from gangsters and charming Jackie, Cyd Charisse's character. Although Gene Kelly's character has yet to have children or settle down he is perhaps not the most unfortunate of the three men after all these years, and he nevertheless retains his quick wit to an enjoyable measure.