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Reviews
The Low Down (2000)
Mesmerising meditation on young adult life
This is a suprisingly affecting, and understatedly powerful portrayal of growing up. Its a about the need for answers, finding our way and some role in life, as we begin to explore ourselves making the transition from young adulthood to the next unknown. Personally, to me, its about finding our place in the world and being contented with that. The film doesn't provide any answers though, just a breathtakingly poignant, some might say pointless examination into that stage in our lives. The film is stylistically directed. Certainly there are similarities to the work of the 50-60s by the french new wave of Truffaut, Godard and co, in its simple yet effective (and seemingly) improvised use of creative camera technique i.e. freeze frame, slo mo etc. The performances (apparently improvised - well some of it) are absolutley astonishing in their realism. All the characters have an amazing rapport and chemistry with each other - you really do believe they have been friends for a lifetime. Thraves is marvellous but no more so than the other cast. So realistic are they, that no doubt you will have met similar individuals at some point in your life.
A mini masterpiece of a debut from a promising director. 9/10
Marnie (1964)
Great, Genius
Marnie is a misunderstood masterpiece from the Hitchcock. Often cited as an example of a messy, flawed genius - it can be off putting to some since its quite talky. However stick with it and you will be intrigued and itching to discover all about Marnie (contrary to what most say, played with understated brilliance from Tippi Hedren).
The direction and cinematography is exceptional with Hitchcock and his usual crew i.e. Rob Burks etc on form. The atmosphere generated (apart from being 'Hitchcocky') is unique, dark, gloomy and at times akin to a horror film, yet it is utterly appealing and compelling. Theres an almost creepy, artificial humanless feel to proceedings as a result of the direction and how the actors have been directed to act as is briefly highlighted by a Hitchcock scholar in the documentary on the disk. Hitchcock knows the art of cinema, no flashy fast cuts or fast moving camera's as we see nowadays, but measured, inspired direction laced with flourishes of creative genius (thats Hithcock for you). Atmosphere, emotion is built up like poetry. Witness for example some moments of genius such as the final revelation, in what is one of Hitchcocks most underrated, powerful and shocking pieces of direction; the riding sequence which culminates in Marnies fantastic yet disturbing line of dialogue, " there there....", and also sinister momnets such as when Marnies mother wakes here from her nightmare- her voice disturbingly artificial in its lack of emotion and empathy for a clearly distraught Marnie.
Speaking of the mother, Louise Latham -the actress behind the role effortlessly steals the show from an already superb Hedren and Connery. Latham eleicits an absolutely breathtaking performance. Her character is frighteningly creepy, tragic, powerful and marvellously played to keep up the suspense and intrigue. You don't know what to make of the character except of the fact she knows or has played a part in Marnies psychological condition. In fact I would go as far as to say it is one of the greatest performances in a Hitchcock picture - an example of genius casting. Similarly her character is arguably the greatest 'mother' character in any Hitchcock film beating Pyscho and Notorious' madame Sebastion.
Marnie is a truly great picture and definetly Hitchcocks last great although Frenzy is a nice enough distraction. Not as good as Vertigo or Rear Window but certainly up there in the higher echelons of Hitchcocks work.
9/10
The Thin Red Line (1998)
resonates a sense of euphoria through the mind and soul.
I believe this film has got bad ratings due to the fact it is a war picture - hence most people expect action, action, action and CHEAP melodramatic moments i.e. every soldier bites the dust during the course of the film except the main star(hmm Saving Private Ryan). This film is so much more. This is the first film I have seen from Malick and I must say he is an outstanding visionary. It is maginficently shot with its long sweeping shots and panoramic views. Expect a certain stillness and beautiful calmness to the cinematography, which complements the somewhat philosophical nature of the film. Do not expect the fast cutting, speeded camera of the MTV generation. Clearly Malick put his heart and soul into this film (his first for 20 years) to craft a profound, unforgettable and dreamlike piece of poetic art. Those who yearn something a little different, something with a little more intelligence will find that it is a film which resonates a sense of euphoria through the mind and soul.
A confident 9/10 PS I think Nick Nolte is a poor mans Jack Nicolson - who would have been better for the role (if he was slimmer)
The Truman Show (1998)
underrated, magnificent
This films very underrated - reminds me of 'Harvey' (a favourite of Carry's if I'm not wrong). The film effortless juggles between satire and poignancy. With a great and somewhat quite fantastical premise, there was always the chance the film would not be delivered to its full potential. But credit to Weir, he has constructed one the standout american films of the nineties; One which deserves more recognition than it already recieves from within those stuck-up critical circles. The film is not the most in depth around by measure of symbolism and other such what nots, but this is preferred since it is thankfully devoid of the sort of seriousness and pretension that these elitist critics often hold in such high regard. Films shouldn't have to be Bergman or Fellini, to be considered great. Greatness comes in other forms, not just in charting human nature etc. (although its certainly essential to have a wide variety, as with all things in life). Similarities to Hitchcock then, in that its glorious entertainment fused with subtle humour and intelligence, and brought into fruition with great aplomb. This is a film which will linger in your mind long after you leave the theatre.
Carrey's performance is great. Famously billed as his first great serious performance. I was not too convinced on first viewing, since he plays it a bit tongue in cheek at times. But on further viewings his performance, and that of the cast is now recognised by this individual, as extremely understated in its brilliance - complementing the tone of the film perfectly, as it elicits subtle laughs as well as more touching moments of poignancy (complemented by a breathtaking musical score).
Truman is certainly one of the most likeably characters since Mr George Bailey himself and that in itself is a feat achieved. By the dramatically moving and nailbaiting denouement, you too will be cheering Truman on. Plus he gets the girl.
RECOMMENDED WITH EXTREME CONVICTION.
The African Queen (1951)
A great movie
John Huston once again shows what a great director he is in making this delightful picture. It really is a character piece, focusing on the two leads and there undeniable chemistry. Bogie deserved this oscar - it arguably is his greatest performance. Hepburn is equally as excellent in playing the prim and proper, slightly stuck up passenger. Once again she shows her off talent in being able to balance the comedy elements with the melodrama - a performance also worthy of an oscar. It is testament to their acting ability and the direction of Huston that you never doubt the situation they are in - they really do look like they went through emotional and physical hell. You won't find the gloss i.e. nice spanking new costumes and perfect facial complexions here.
I for one became attached to the duo's journey - who can forget the episode with the leeches, the sheer disgust and fear on Bogie's face when he first realises the critters are on him, and the slow realisation he has to go back into the water to get the boat moving. Masterful acting it really is, and surprising coming from him.
Forget the comments by whats his name "Bsinc" - even though all opinions must be respected, just go back to watching Titanic or Romeo Must Die or whatever it is you watch. This is a classic and is single handedly responsible for setting the template for all subsequent romantic adventures.
Its a disgrace the film did not even get nominated for the 51' best picture oscar, since is thoroughly deserved to win it (an American in Paris!??!)
The 39 Steps (1935)
Mr Hitchcock's best chase
Although the comments of those who consider this film to be merely 'good' Hitchcock need to be respected, I feel they are somewhat mis-informed. This is the best Hitchcock chase movie and certainly one of his most enjoyable. I feel many are put of by the somewhat shaky production values and the age, which makes the film seem tremendously old (only five years before Rebecca?). Coupled to this Robert Donat's hair and moustache does the film no favours. Being a fan of older films and FILMs in general, I have no such worries.
The film is better than North By Northwest I think. Now I have watched the latter film 3-4 times since I believe in giving every film its deserved viewings, but I cannot shake the feeling it is somewhat overrated BUT BY JUST. It is still an EXCELLENT film, but by no means up there with HIS best. The 39 Steps is better, the story has better pacing, a wittier interchange between the 2 leads (and from the supporting characters - i.e. the 2 gentlemen in the train) and some subtler comedy substances. Plus the fact the locations are moodier - London, and dark, misty Scotland! The chemistry between the two leads is phenomenal much better than in North by Northwest, and yet, is based purely on the their mental and verbal interactions rather than their physical (incidently I found Madeleine Carroll very sexy even if, all she does is remove her stockings).
There are also some great touches such as that famous sound cut to the roaring train when the first murder is discovered, and the chases on show. Although these set pieces are more brief and low key compared to his later films, they complement the story to no end. They all fit in with the natural flow of the film as opposed to being flamboyant showpieces. For me North by Northwest is a more glossier affair and is a great example of the stereotypical Hollywood romance including the long gazes, long kisses, and reliance on star charisma to give charisma.
The 39 Steps is something special and deserves to be in the BFi's greatest list. Certainly as good as the THIRD MAN (not as accomplished a piece in terms of cinematic art, but definitely more thrilling enjoyable). While not as deep or psychologically complex as some of his other works - for pure entertainment, atmosphere and storytelling its hard to beat. After all, Mr Hitchcock was always primarily in it for good, intelligent entertainment fused with creative art - he never cared much for the pretension and pointless symbolism that most yearn for (that is why I like his work so much), and certainly the amount of interest and exhaustive examination into who Mr Hitchcock was, is utterly pointless - people need to spend more time watching his films, rather than partaking in pointless exercises.
Some may argue that the film COMPLETELY skimps over the criminal elements of the story, NEVER elaborating on details, or the motivation of the crime perpetrators (they are very much relegated to the shadow), but I prefer it this way since mystery and intrigue is built up and and the picture is devoid of all the (intrusive?) talky, exposition evident in his later works. Instead Mr Hitchcock focuses on his two leads, letting them light up the screen.
The 39 Steps is certainly up there with Rear Window, Vertigo, Notorious, Man Who Knew Too Much etc.. as his best work and still better than accomplished chase pictures such Minority Report and Mission Impossible which come out today. A five star film - must see for all art fanatics.
PS the similarities of this film to 1942s Saboteur (an underrated Hitchcock movie) are extraordinary, if it were not for the fact that both films are made by him it would be plagiarism. Similarities extend to the device with the handcuffs, the somewhat feisty and hysterical blonde, journeys to the middle of nowhere to confront the mastermind, and the way the main protagonist is helped by locals who are all too quick to place faith in believing him.
Vertigo (1958)
haunting, melancholic piece about obsession
There are some negative comments evident in IMDB. Despite the truly shameful naivety of some of them - are interesting to read, with the majority them highlighting some valid, albeit subjective, points. First and foremost, those not particular in tune with films pre-dating the 60s will perhaps find some of the situations and dialogue clunky. I did, but like anything you merely have to become accustomed to it.
Although the film may seem long and slow to some, I did not encounter such problems. Rather, the dreamlike mood induced a hauntingly, melancholic, almost trance-like state for this viewer. This I think is Vertigo's timeless appeal. While Rear Window is arguably the better film, and enjoys greater technical direction, tighter story telling and pacing (as well as a wittier interplay between the two main leads), Vertigo delves into the subconcious and weaves its own unique spell on the viewer as we follow Scotty into obsession.
Vertigo 'feels' like Mr Hitchcock's most personal film. However I do think certain, curious individuals are reading too much into the piece, purely as an insight into Mr Hitchcocks character, particularly his fascination for (certain) blondes. As Mr Hitchcock and his daughter will often attest, he was always concerned merely with cinema art as entertainment - and, that entertainment was always a figment of his imagination.
To a uniquely, beautiful and obsessive creation 5/5
They Were Expendable (1945)
truly beautiful and sombre film
It is a film which did not appeal to me on first viewing. I have since seen it twice and can 'connect' with it. It is not easily accessible, especially for the modern generation but it weaves its own beautifully elegiac and sombre melody - more so for those who understand its history.
It is a surprisingly intelligent film, which some may find hard to follow, since it contains a bit of strategic talk and such, but it has some heart-rendingly poignant moments, especially the scenes between Wayne and Reed - for instance the candle lit dinner, THAT beautiful shot of the both of them staring into the distance during the dance, and the last phone call.
Lastly it has Donna Reed in it and thats enough. One of the most haunting, and poignant war films around (and with an irresistable Donna Reed)
Meng long guo jiang (1972)
Redefined the genre, and still does
Although this is technically not Lees greatest film, it is a personal favourite since Lee was in full control and everything is pure Lee. Many have wrongly stated this film is bad, having not seen the originals where you can really appreciate the composition of the showdowns (visual director with potential - see the rare 'rocking chair' shot in Game of Death). The script is bad in a few places, particularly the humour, but this film was never inteneded for the west, but designed to appeal to his country men.
Now, the film features the best array of fighting sequences ever commited to celluloid. Obviously influenced by Sergio Leones trilogy, tension is excellently built up before fight. The sequences are not overly choreographed or played in slow motion or 'lightly' then speeded up, but contain a raw, feral edge combined with breathless technique. The perfect marriage between art and realism.
The fights with Wong Ing Sik and Bob Wall while short, are underrated even by Lee fans. Those who have been lucky enough to see the double nunchaku sequence in full, will have witnessed one of the best display of weaponary ever shown on the silver screen (along with the 'original' and 'complete' nunchaku footage from Game of Death and the wonderfully comprehensive display of martial arts in the underground Enter the Dragon sequence).
And then theres THAT coliseum fight. Perhaps the start is abit overdone (But Lee wanted to put forward a point i.e. don't play to your oponents strength), but it is undoubtedly the best expression of the human body ever, whether fighting, dancing, running whatever. Those brought up on Latter day Chan stuff and in particular Jet Li fights, will not appreciate this piece, but those knowing anything about the fighting arts or good choreography will be shaken not just stirred.
Jing wu men (1972)
See the original cut and its the finest of genre
Firstly, many proper 'film buffs' and 'critics' regard the film to be technically and creatively crude. But such assumptions are unfair since they are mainly based on the heavily cesored, chopped and dubbed version, which is rightly, so laughably bad, as to not even warrant a rating.
Now I like to think I have seen enough of films to know what is good and what is not and this in its original form is marvellous, although still not without its shortfalls i.e. some of the talky scenes, expecially the romance scenes. But other then that the film, is powerful story (albeit straighforward), with the tradition/history associated with the myths and legends of the martial artists from yesteryear. The film is fused with revenge, heroism and of course uncontrollable charisma! from a fully expressed Bruce Lee who plays the best role of his career (downside is the overly dispicable portrayal of the japanese - on par with Saving Private Ryan)
Particularly impressive in the film is the build up of the raw, feral tension e.g. the funeral scene where a Lee dressed all in white is goaded by the translator. Seen in widescreen you can really appreciate the composition of the fight scenes (although the budget means the scenery on offer is samey and a bit stagey). Again Lee is influenced by the traditional samurai films (anyone familiar with Kurosawa's work will recall the Seven Samurai when Lee first enters the doorway to Suzuki's office) and notably the 'Dollars' trilogy (i.e the close up montage and build up of encounters).
The fights feature Lee at his emotionally and maniacal best, particularly the underrated exchange between the Russian (Wall) even if its ruined by a few random hits, and the equally underrated if short, killing of the two imposters in the kitchen. Most memorable however is the first dojo set piece and the cat like grace of an eluding Lee to a Samurai sword towards the end.
Those who are lucky enough to see the nunchuka v samurai sword battle at the end will see one of the most thrilling sequences in cinema, since the shower scene from Pyscho, or the crop duster scene from North by Northwest, or the murder in Strangers by a Train etc, or the shootout in Good the Bad and the Ugly.
The film is intellictually and overaly not on par with Kurosawa's best naturally, but is arguably just as, or more 'superficially' enjoyable. Also worth a mention is the powerfully downbeat ending. The film revolutionaised action films and is universally the ultimate martial arts film - still providing unsurpassable enjoyment for those who enjoy a good enjoyable flick.
Also look out for a cameo appearance from Steve Martin at the end!!
Peeping Tom (1960)
great for its time but has dated
I consider the film to be merely good. Many of the mechanics have dated , with some clumsy use of dialogue, dated characterisation and hokey scenes. In particular the main killer lacks believability in this modern urban setting and is a bit one dimensional. Its hard to believe that this is an individual who feels the unbearable urge to kill upon seeing fear in someones face(as depicted in the last scene) or who merely kills just to capture the look of fear on someones face (surely a good thespian will suffice?). In any case suspend your belief and you find a good film thats well acted, especially by the Boehm, and well directed. This is the first film by Powell I have seen , and I hope to see many more. While not as creatively or technically adept behind the camera as Hitch for e.g., the film is directed well and works, in that it creates a morbid, grimy air of uneasiness - uncommon for a piece of this period. Your average cinema-goer of today should have no problems with it though.
I do need to see the film again though, as every film 'needs' repeated viewing 'to connect'. It is certainly more adult orientated than any other film released at the time, but for better examples of the genre see 'Psycho' (of course), or the astonishing 'Night of the Hunter' by Charles Laughton. Peeping Tom is deserved viewing nonetheless. 3/5
How Green Was My Valley (1941)
thoughtful, poignant
I enjoy Fords work, in particular his westerns, so was intrigued by this nostalgic story set in a rural coal mining town. While unappealing for many I'm sure, persevere and you'll find a delicate, gem - a story about fragility of life and family. Melancholically shot in black and white with some stunning cinematography, the film is required viewing for those who can appreciate it.
The Thin Red Line (1998)
resonates a sense of euphoria through the mind and soul.
I believe this film has got bad ratings due to the fact it is a war picture - hence most people expect action, action, action and CHEAP melodramatic moments i.e. every soldier bites the dust during the course of the film except the main star(hmm Saving Private Ryan). This film is so much more. This is the first film I have seen from Malick and I must say he is an outstanding visionary. It is maginficently shot with its long sweeping shots and panoramic views. Expect a certain stillness and beautiful calmness to the cinematography, which complements the somewhat philosophical nature of the film. Do not expect the fast cutting, speeded camera of the MTV generation. Clearly Malick put his heart and soul into this film (his first for 20 years) to craft a profound, unforgettable and dreamlike piece of poetic art. Those who yearn something a little different, something with a little more intelligence will find that it is a film which resonates a sense of euphoria through the mind and soul.
A confident 9/10 PS I think Nick Nolte is a poor mans Jack Nicolson - who would have been better for the role (if he was slimmer)
It's a Wonderful Life (1946)
How does this communicate to you?
Before watching this I had the same misconceptions as everyone else about films from this golden age and especially this festive flick. The film fortunately put such doubts to rest. Many will argue it is too sentimental, while partly true, such scenes are handled with the utmost care and NEVER feel cheap. Being from this current generation of cynical drones, this film to me, was a revelation. Capra fills each scene with such feeling and character that one cannot help but feel slightly moved. The film has the perfect cast especially the immortal Jimmy Stewart and the ABSOLUTELY GORGEOUS Donna Reed (underrated, underrated). While labelled as a feel good christmas movie, such a label is disrespectful. The film encompasses a variety of values and emotions, from family, faith, hope, love, aspirations, despair to many others. Although it is a universal film and there are some lighthearted periods, there are also scenes of depression and unhappiness(exploiting the talent of Stewart perfectly). If this is a happy, festive film, then it is the most depressing one I have ever seen. Every scene is excellently realised by a director at the pinacle of his craft and furnished with layers of detail and feeling. The film is also complemented by the best cast ever assembled (yep beating all others I think in my opinion). Every performance is refreshing and unlike 99% of all other golden age films from this era, the acting and dialogue is wonderfully accomplished and refreshing and has not dated in the least. Many polls do not consider this to be the greatest film ever after all it has to be something 'cool' something for the 'twenty something generation', something like the Godfather or Pulp Fiction. It effortless surpasses my previous favourites: Shawshank Redemption, Magnolia, Chungking Express, The Truman Show and Memento. These films while excellent do not touch me PERSONALLY in the same way as It's a Wonderful Life. They do not ignite the same sense of joy and euphoria, that little 'magic'. This is cinematic utopia, a film which breaks free from the boundaries of motion entertainment and into the realms of your emotional senses. And it feels nice.