Thursday, November 30, 2006

November Archives #2

November 30th Log

1924, Buster Keaton, United States
Repeat Viewing, DVD

I love this film!! There are few (if any) films more perfect then this one and I can not justify it beauty with any words or descriptions. To me, Sherlock Jr is Buster Keaton's best film and rates among the very greatest silent films ever made. Keaton is undoubtedly one of the cinema most inventive and important filmmakers and his influence is still evident today. Sherlock Jr is a truly powerful, hilarious, and groundbreaking film that represents the mystery, joy, poetry, and intrigue of cinema. Here Keaton plays a film projectionist who falls asleep during during a screening of a detective thriller and puts himself into the film. With Sherlock Jr, Keaton is examining the connection between cinema and the viewer, or more specifically the viewers subconscious. Incredible and truly inspirational filmmaking that's way ahead of it's time. Also, not to be forget is how funny this film is. Of course, that's always expected with Keaton, who's one of the definitive comedians of the silent film, era. Also to be expected are the dazzling stunts and clever visual references always seen in Keaton's films. Simply put Sherlock Jr is a masterpiece of artistic and comedic filmmaking from one of cinema's memorable masters.

1928, Buster Keaton / Edward Sedgwick, United States
Repeat Viewing, DVD

I had to make the Cameraman a double billing with Sherlock, Jr. becuase they work perfectly with each other in many ways. One of Buster Keaton's last silent films, and his first with MGMStudios, which inevitably effected the creative freedom of hisfilms. To me, the Cameraman stands as Keaton's last great film and represents a personal and artistic statement on bothhis career and on filmmaking in general. With the take over of talkies (which Keaton was actually excited about) and MGM's hold over Keaton's creative freedom, his films were deeply effected. However, Keaton's place in cinema history remains and in fact, has only grown stronger with time. The Cameramanis a beautiful film of emotional, comical and artistic depths from a master filmmaker. Like his 1924 film Sherlock Jr (which I believe to be his greatest masterpiece), The Cameraman is a film about films and filmmaking or more specifically here, the director and cinematographer. As expected, Keaton's classic comic invention is evident and enjoyable throughout (the phone conversation, changing room, "naked" swimming, etc). Also, Keaton's brilliant sense of adventure, suspense, and romance (the fire truck, gang fight, boat accident). Keaton is wonderful as always, but the supporting performances are equally notable in giving this film it's heart (be it the monkey, Harry Gribbon as the cop, or the stunningly beautiful Marceline Dayas Keaton's love interest). The Cameraman is simple yet deeply effective and joyous filmmaking. Keaton has probably made more landmark or influential films, but this remains one of his most enjoyable classics.

November 29th Log

1929, G.W. Pabst, Germany

Repeat Viewing, DVD

Georg Wilhelm Pabst is often considered among the most important filmmakers of German Expressionism from the silent era. One of his definitive works, is the 1929 film Pandora's Box. Featuring an unforgettable performance by the icon actress of the silent era, Louise Brooks. Brooks' portrayal of Lulu (the sexy, and seductive dancer / prostitute who drives everyone mad with lust or jealousy) rates among the most legendary in film history. Not so much for her powerful performance, but more the entrancing and magical way she captivates the viewer. Brooks was one of the most unique and sultry screen presences in film history and this film is the perfect vehicle for her to display those qualities. Pandora's Box is brilliantly made and perfectly displays the visual beauty and atmosphere of the Expressionist era. Pandora's Box features a brilliant use of lightning, camera work, and editing to generate a sexual charged emotional and visual atmosphere, much of what is also the presence of the films unbelievably memorable leading lady.

>> Criterion Collection has just issued a new double-disc release of this film in what may be one of the greatest treatments a silent film has received on DVD. Not only does the set contain great extra features (including a rare interview with Louise Brooks), Criterion also offers four different musical scores to choose from. This is a groundbreaking DVD set with a gloriously restored image. The film itself is a landmark and should be required viewing for fans of film history.

49 UP
2005, Michael Apted, United Kingdom

1st Viewing, DVD

49 Up is the latest installment of what has been arguably the most ambitious documentary project of all-time. The British series has documented the lives of several selected children from the age of seven (with the first film being 1964’s 7 Up), and has progressively followed their lives every seven years with a new film. For those who have followed these people lives through these films, there is a curiosity and fascination about it that it is impossible to ignore. You are literally watching these people grow older and go through the progressions of real life (the relationships, the work, the failures, the success, the love, the family, the mistakes, etc). Obviously some of the people relate on more personal and deeper levels and audiences will be emotionally connected to certain individuals of the film more then others. For me, Neil and Jackie stand out here. Neil is an especially intriguing development as in the earlier films we see him homeless and contemplating his own isolation and potential madness. At 49, Neil has found new hope through faith and spirit (as well as the pursuit of politics, which he mentioned as something “important“ he wanted to pursue at 21). His story is undoubtedly a touching one that really defines the power of these films. To me, 49 Up is probably the best film of the series for many reasons. With this film, we really get a chance to reflect upon the entire journey of these lives as they reach middle age. Directed Michael Apted presents this film in a much more reflective way, using a whole bunch of footage from the previous films to create a sense of the life pressures (money, education, career, and romance). Also one of the most interesting portions of this film is hearing the subjects discuss how being apart of the film has effected their own lives. As ambitious and fascinating as it is to watch you still have to wonder about the expense of the emotional level as well as the exploitation of it all. Perhaps it is summarized best by John, when he says, “Fascinating? Sure. But does it have any value? That is a different question.” All that said, I still want to know what will come of these lives, but this film leaves doubt that many of the "subjects" will even want to continue the series with 56 Up.

November 28th Log

John Ford, United States
1956, Repeat Viewing, DVD

I have seen this film, but I waited until the nearing end of my current John Ford month for a repeat viewing of The Searchers. This is only the third time I have seen this film and it has certainly grown with me upon each viewing. The films greatest strength lies underneath the surface of the film, which is why repeat viewings are required. This may be the most complex film Ford has ever made and it is much more appreciated on a deeper level of understanding with repeat viewings, and also considering Ford’s entire body of work. Ford is a visual poet and few films capture this with more breathtaking beauty then The Searchers. The emotional complexities of the film are found in what the film implies rather then what it shows. Ford has a masterful ability of telling stories simply through visuals and this is evident as ever here. Particularly in the opening and closing images, which essentially work together. The film shot of the film is the most moving and deserves mention among the very greatest last shots in the history of filmmaking. There is such richness and texture to this film that it can be analyzed on endless levels both of filmmaking technique and storytelling. Using the frontier as the visual backdrop, Ford defines the essence of an American civilization at odds through tradition, violence, morality, community, and freedom. John Wayne gives a powerful performance in one of his darkest roles as Ethan Edwards, a racist looking to avenge the murder/kidnap of his niece, nephew, brother, and sister-in-law (who he secretly loved). Ethan is portrayed neither good or evil, but rather in a way that is dark and mysterious. The Searchers is the work of a master poet. A film of rich deep through subtext (both visually and verbally). I think I personally prefer some other Ford films, but this stands a landmark achievement in the history of American film. The Searchers is one of the most important and influential films ever made!

1946, Michael Powell and Emeric Pressburger, United Kingdom

Repeat Viewing, DVD

What a wonderful film this is! Classic, romantic intelligent, charming, imaginative, and absolutely lovely! Made in one of the greatest years in film history and by two of British's most legendary filmmakers: Michael Powell and Emeric Pressburger. Together they collaborated on almost 20 films, and to me, this is their finest. This is really a very simplistic fantasy story, but Powell and Pressburger extend it beyond the heights of standard filmmaking and into a magical world of ambitious vision, fairy tale, and beauty. The dialogue is wonderful and the film features glorious and vibrant Technicolor cinematography (earth) contrasted with sharp black and white (heaven). There is also some fabulous performances (notably by David Niven as Peter Carter) and strikingly inventive and creative visual techniques that Powell and Pressburger explore. Some of the originally intended themes (wartime propaganda) of the film (particularly within the trial sequences) is dated, but the true core and appeal of this classic film is undeniable, as it transcends far beyond it's narrative or themes. A Matter of Life and Death is a film that has the magical power to lift the viewer and carry them away into it's emotionally involving and visually beautiful world of sheer imagination and romance. "We won. I know darling."

November 27th Log

1965, Kon Ichikawa, Japan
1st Viewing, DVD

The 1964 Olympic Games was the first ever to be held in Asia, and also was the first world event in Tokyo since World War 2. To give the world an awareness of the country’s recovery, Japanese government hired award-winning fiction director Kon Ichikawa to document the games. Initially they were upset with the results, but ultimately the film went on to receive international acclaim and is today regarded as a landmark. What Ichikawa did was make a completely unconventional work. Using over 150 different cameras and over 70 hours of footage, the focus is less on the actual games then it is on the human element of the athletes. What the film does is capture the human body at it’s most gracefully athletic. It also captures the psychological aspect of the athletes. Ichikawa seems more interested in this then he does in competition, sports, or even the games. Structurally it is a pretty straight-forward film, but Ichikawa resists conventional Olympic games coverage for something deeper in human condition, as well as a personal expression of the artists own vision. Ichikawa is one of the leading filmmakers of the Japanese new wave movement, which saw a new breed of post-war filmmakers following the era of the great masters (Ozu, Naruse, Mizoguchi, Kurosawa). In tradition with this movement, and most of Ichikawa’s work, Tokyo Olympiad goes in an entirely unique and perhaps even rebellious direction.

November 25th Log

1935, Mark Sandrich, United States
Repeat Viewing, Turner Classic Movies

Fred Astaire and Ginger Rogers are among the most legendary screen couples in cinema. And in the genre of musicals, they may be the definitive duo of all-time. Together they starred in ten films (nine as top billing), each elegant and entertaining in their own way. However, it is 1935's Top Hat, which remains the embodiment of their collaboration. It is among their very best films together, but it is undoubtedly their most memorable. There are moments of pure glamour and class and charming humor and wit. But above all their are moments to never be forgotten. Through the incredible Irving Berlin score, Top Hat features some of the most legendary and memorable musical sequences in film history (of course most notably, "Dancing Cheek to Cheek"). Top Hat, like most great musicals, has an undeniable magical force. Forget the storyline or plot, which may be a bit silly (and familiar- as it shares much in common with 1934’s Gay Divorcee), this is beautiful and grand escapism. What these films represent transcends far beyond plotlines and captures the magical beauty of cinema. You watch the film and can’t help but smile and feel as though you’ve been swept away (just imagine the impact such an experience can make during the American Depression). Often overlooked by the sensational dancing is the performances of the film. Astaire and Rogers give subtle performances that get lost amongst the grace and beauty of their dancing. Also the supporting cast perfectly fits in as the neutral characters for the leads. It is all trademark Hollywood Studio filmmaking driven by star-power (Rogers is particularly given the star entrance as a crane shot moves down towards her being woken up from the tap dancing in the above room- this is of course from Astaire and so begins the plot of misunderstandings). This is the fourth collaboration of Astaire and Rogers (or Rogers and Astaire- which ever you prefer!), but it will forever remain the quintessential film of their partnership.

2006, Jonathan Demme, United States
Repeat Viewing, DVD

Neil Young: Heart of Gold is a special film. Like he did with the wonderful 1984 film Stop Making Sense as well as the 1998 film Storefront Hitchcock, Jonathan Demme transcends the genre of "concert films" to become something emotionally profound, and beautiful. This is above all a performance film and it's a memorable experience. Demme structures the film in the same way he did with his previous performance films, focusing on simplistic techniques and almost solely on the stage. After some brief opening comments from Neil Young and the band, Demme dollies in and just lets the performance take over, and the result is magical and even emotionally personal. Making the film even more impacting is the story within, as we see Neil Young performing his latest album (Prairie Wind- which he recorded just weeks before a brain aneurysm operation) to an audience for the first time in his dream location (Nashville's Ryman Auditorium). The passion of the music and a reflection of his life become evident through Young's performance and lyrics, all wonderfully captured through Demme's intimate camera. Young also sings some of his older favorites, many of which equally reflect on his life and aging (while now being performed by a much older man). The first ten songs are all from the Prairie Wind release and then the film finishes with ten more of his older songs, closing with the entire band performing 'One of These Days' (the film then perfectly ends with Young singing 'The Old Laughing Lady' to an empty audience over the credits). Neil Young: Heart of Gold was shot over two nights of performances, but Demme limits the techniques and cuts to keep the film more involving. This is also captured through the masterful use of lighting and background that change within the mood of the songs. Everything about this film just works. Young's music is so personal, and his (as well as his group) performance is so passionate that this becomes such a beautiful emotional journey of music and imagery on film. Demme has mastered the art of this filmmaking and the film rates among his greatest achievements.

2006, Sofia Coppola, United States / France / Japan
Repeat Viewing, Theater

I had to give this another theatrical viewing. Marie Antoinette is a masterpiece and probably my favorite film released in 2006 (since my favorite film of the year Three Times was officially a 2005 release). Marie Antoinette is very representative of Sofia Coppola’s cinematic style and themes. This is her third film and each of them have equally dealt with young woman trapped in a foreign world of isolation, loneliness, and boredom. While her other features were (at least to me) self-conscious and dull attempts of recreating Michelangelo Antonioni or Wong Kar-Wai, Marie Antoinette is a wonderful personal expression of an artist. Here Coppola captures the poetic expression of her imagery and sounds in a spirit that evokes the groundbreaking American pioneers of the 1970s (such as her father Francis Ford Coppola, or more specifically Terrence Malick). While not breaking cinematic grounds with this film, Coppola isn’t conforming within any boundaries either, and the result is an epic film of artistic achievement with a free and personal vision. Really to my surprise, I loved this film in every way. I think because above all, it is one of feeling. Coppola is less interested in ideas (be it political, historical, or psychological). Her interest is in mood, in gestures, tones, themes, and sensibilities. Those looking for intellectual or historic depth may be left disappointed, because this is a film at its best when playful and silly. That is not to say the film is without meaning and importance (or focus). The film distances the viewer from the past and period drama through modern effects (such as the unexpectedly non-distracting new wave music, or the removable of language accents), Coppola ultimately captures an emotional truth. At its core this modernized approach expresses the playful spirit of a young woman’s emotional and physical state. A dreamlike world of being entrapped into an unfamiliar environment of loneliness, and the longing for teenage freedom and possession (as well asrebellion). Often dialogue is never needed here. Through dazzling visuals, set designs, costumes, and makeup Marie Antoinette pitch-perfectly evokes this emotional expression (of which is clearly very personal to Coppola as a filmmaker, who can certainly make some parallels). Based on a sympathetic biography of Maria Antoinette, Coppola is deeply compassionate towards her. Ultimately this is a film of Coppola’s key expression, which is that of a lonely, imprisoned girl who retreats to her own private world of imagination but is destroyed by the uncontrollable desires within (being a young woman). Essentially Coppola is presenting this film as a dreamlike fantasy world through Marie Antoinette’s own imagination as she grows from a teenager to a woman. This is why Coppola films the final moments of Maria Antoinette as she does. While on a narrative level it may be flawed, I find her ending perfectly fitting and the final shot a beautifully expressive and essential image that defines the emotional and physical state the character.

November 24th Log

2006, Christopher Guest, United States
1st Viewing, Theater

I really love the idea behind this and I’m definitely a big fan of Christopher Guest and his usual company of fine actors (Catherine O'Hara, Harry Shearer, Eugene Levy, Christopher Guest, Ricky Gervais, Parker Posey, Jennifer Coolidge, Fred Willard, Jane Lynch, Larry Miller, Christopher Moynihan, John Michael Higgins). I also love the opening shot which features a clip from Bette Davis in one of her greatest (Oscar winning) performances from William Wyler’s Jezebel. However, where as his other films featured such well drawn out characters it all feels a bit more tired-out and less passionate this time around. Guest does not use the “mocumentary” style narrative of his previous features, but it this film still feels more formulaic then anything else he has done. Really aside from the “freshness” there is plenty to enjoy here. I guess if you are a huge fan of Guest previous films, comparisons and ultimately disappointment is likely to arise. Taken on it’s own For Your Consideration has some great moments to offer the audience. It is wonderfully fun seeing how they portray the “buzz” of Hollywood during awards and the general ridiculousness of the whole process. The cast is again outstanding, with Parker Posey and John Michael Higginsbeing the particular standouts this time around.

1980, Brian De Palma, United States

1st Viewing, DVD

Brian De Palma may wear his influences on his sleeve, and he may be often style over substance, and his films tend to boarder on camp, yet when he connects, I think he can often soar to heights of pure cinematic bliss. Dressed to Kill is a film that I think very often soars, and I would rate it among his finest. Maybe it is for De Palma fans only, but I found this to be a whole lot of fun genre filmmaking with direct nods (or even thieving) of the great Alfred Hitchcock. Take your pick of a Hitchcock film, and De Palma heavily incorporates it in some way here both visually and thematically (be it Vertigo, Murder, Spellbound, Rear Window, and most obviously Psycho). Even the musical score owes debt to Bernard Herrmann. However, the film does have a style of it’s own, including many of the trademark De Palma moments (slow motion, split screens, overhead shots, long tracking shots, and re-arranged editing techniques). De Palma is a master of genre and his ambitiousness and can backfire, but it also can work to masterful effect. De Palma is a visual filmmaker, and Dressed to Kill certainly represents this. Just take the crafty sequences at the art museum and then the critical and tense murder scene in the elevator and you understand his gift as a visual storyteller. De Palma can also be very funny, and Dressed to Kill is one of his most darkly comical films. Dressed to Kill is genre film at it’s most well crafted and stylishly visionary. It is a film for film lovers and I would rate this alongside De Palma’s finest work as a filmmaker.

Yasujiro Ozu, 1935, Japan

Repeat Viewing, DVD

This is my third viewing of this film. I just saw An Inn in Tokyo a couple months ago, but had to put it quickly back onto the “Ozu Friday night” schedule because it left such a profound impact. An Inn in Tokyo is Ozu's last and perhaps greatest silent film. The film is very reminiscent of the later Italian Neorealist films of the 1940s (notably Vittorio De Sica's masterpiece The Bicycle Thief) as well Ozu's 1933 film Passing Fancy) in it's simplistic yet powerful examination of the human condition amongst the struggles of the Depression (in this case pre-war Japan). Using a decaying Japanese environment as the visual surrounding, Ozu captures the very essence of human struggle, centering around a poor widowed father with two sons as well as a friend who is a widowed mother with a sick child. Faced with a moral conflict the man must make a decision that could effect his family. Equally beautiful and heartbreaking An Inn in Tokyo is a masterpiece.

November 23rd Log

2005, Werner Herzog, Unites States / United Kingdom / Germany
1st Viewing, DVD

The Wild Blue Yonder is one of the four films Werner Herzog was working on last year (along with The White Diamond, Grizzly Man, and Rescue Dawn). This like the other film, or really like any of his work, explores the mystery and chaos of nature. The opening title card tells us we are watching a “science fiction fantasy’, as the film blends documentary and fiction together. Really most of Herzog “documentaries” are fiction films disguised as documentaries and this film is the most obvious as he blends documentary NASA footage into a science fiction narrative. A powerful performance is given by Brad Dourif, who narrates throughout about his “journey” from Andromeda” (of the wild blue yonder) to earth. The film very much recalls Herzog’s 1992 film “Lessons of Darkness’ in it’s stylish use of footage, slow-motion, and music. The film is strange and deeply intriguing while raising many complicated and thoughtful ideas. There is a bitterness to the narrative that seems personal and reflective for Herzog, who wrote the entire script out for Dourif to read. The film really excels in the final half with the footage under the ice. Here the wondrous beauty and imagination of the film take over. It is this imagination that makes The Wild Blue Yonder such a fascinating film. Herzog, like the audience is curious at the endless mystery and imagination here and this film is a unique experience.

2006, Liam Lynch, United States
1st Viewing, Theater

The tagline of the film is “The greatest motion picture of all time’, which from the start is setting the tone for a film that is not to be taken very seriously. Of course, that is not to say it can not be enjoyed, and if you take everything for what it is here, Tenacious D can be a really enjoyable and funny film. I’m definitely a fan of Jack Black and here he pays homage to his pure love of rock music as well as the roots that made him a star. Those more familiar with Tenacious D’s background and following will likely love this film. Music fans probably will as well and the film features many different cameos and visual homages (of course they also openly homage Clockwork Orange in a funny little gag scene). There are plenty of fart or more specifically weed jokes to go around here, but the sheer energy of Black’s performance is what makes this film. He is a great physical comedian, but the energy he brings to the screen (somehow without seeming overdone) is what I really admire. Maybe not the most memorable film, but Tenacious is entertaining on the intended levels.

November 22nd Log

2001, Hou Hsiao-Hsien, Taiwan
Repeat Viewing, DVD

Taiwan master (arguably one of the greatest active filmmakers in world cinema) Hou Hsiao-Hsien's 2001 Millennium Mambo may not stand among his all-time greatest films, but it remains beautifully compelling and compassionate. From the very opening (and intriguing) voice-over narration, the film lures the viewer into its emotions and images, but it does so at a distance from the viewer which leaves for a unique experience. The film follows a nonlinear narrative and is made rather simplistically. However, like many of Hou's films, Millennium Mambo is one that contains many layers, meanings and depths. Millennium Mambo is a look into the youth of modern-day Taiwan, yet remains a deeply universal examination of the fateful circumstances of a young girls life. Hou captures the emotions through a dazzling visual atmosphere. Techno-music, video games, television, cell phones are always present on screen to capture the "quick-access" way of modern-day living. The cinematography is stunningly composed of bright neon colors. The gorgeous Shu Qi is a dream as Vicky!! Aside from being in every scene (usually smoking many, many cigarettes) she gives the character a sympathetic connection with the viewer. There are many themes and mysteries to the film that are quite wonderful to experience. On an emotional level, I felt more detached watching this then I have with any other Hou film, but he brings you in through the visuals and the loveliness of Shu Qi. The ending is beautifully poetic. While I'd recommend other Hou films ahead of this, Millennium Mambo remains a highly recommended film from a master.

2006, Woody Allen, United Kingdom / United States
Repeat Viewing, Theater

Woody Allen follows up one his very best films (Match Point) with this light-hearted comedy. The setting is once again London and again Scarlett Johansson stars, but the tone is much different then the serious philosophy of Match Point. Is the film flawed? Probably. Is it anything different then we’ve seen from Woody Allen? No. Is it effective? Absolutely! Especially for those who have admired Allen’s films. There is nothing new here (he seems to be borrowing from many of his own movies- notably Manhattan Murder Mystery, Broadway Danny Rose, and The Curse of the Jade Scorpion). However there really is a whole lot of laughs and charm that make it an unmistakably endearing film. The chemistry amongst the cast is pitch-perfect. Woody Allen gives one of his best screen performances and he shines with Johansson in a way he did with Mia Farrow and Diane Keaton. Together they have such a likable comic connection, and Johansson carries a stunning presence of beauty with the littlest of effort (here she plays a much different role then the femme fatale of Match Point, yet is just as sexy). There are certainly little flaws and holes to this film that give it the impression Allen whipped it up in no time. However, the intention of the film is laid back fun (Allen even steers clear of making overt references to European cinema) and mostly relies on the witty chemistry among the cast. For this Scoop works and is nowhere near being among Allen’s worst comedies (of which I’d consider to be Hollywood Ending). Scoop will probably annoy those who don’t like Allen, but fans of his films will appreciate this for what it is.

November 21st Log

1941, John Ford, United States

Repeat Viewing, DVD

Today, How Green Was My Valley only seems remembered as the film that won the Best Picture over Citizen Kane. Well, looking at the Oscars history, they have made far more tragic and questionable choices then this film which may not be Ford’s very best, but remains a wonderful film that still holds value today. One of John Ford’s greatest gifts as a filmmaker is that he was a visual poet through lighting, settings, and characterization. However, Ford was successful (and had fewer problems with Studio bosses) because of his focus on story (always a priority in the Studio system). His late 1930s, early 1940s work is most representative of this and the result is arguably his most acclaimed and award-winning work (The Informer, The Grapes of Wrath, Stagecoach, and How Green Was My Valley). Ford would make his more personal and artistic films later in his career, but the sheer magic of his vision is always evident now matter what era. Adapted from a popular novel by Richard Llewellyn, How Green Was My Valley is a classic film. This is a film that very easily could be one of sadness, and while it is, Ford ultimately makes it one of cheerful rejoice. Essentially the film is one of change or loss of innocence for a family making the transition from the 19th to the 20th century. How Green Was My Valley was the winner of five Academy Awards (including the third of Ford’s four Best Director Oscars). Not to go without mentioning is the outstanding performances from the great cast (Walter Pidgeon, Maureen O’Hara, and Donald Crisp). A glorious and magical film experience that still stands the test of time.

2005, Kieran Galvin, Australia
1st Viewing, DVD

Like The Puffy Chair, this was a Netflix recommendation and it is being distributed through their “Red Envelope’ distribution. I applaud for this film in many different ways, but I’m not so sure how much I really liked the film. It is pretty well made by first time feature filmmaker Kieran Galvin, who is said to be a completely self-taught and self-funded filmmaker. The performances are solid enough and the film is essentially a complex characters study. I think the problem is I was never very interested in these characters. I applaud the bizarre originality at work here but the film really never pulled me on the level it requires. I’d like to give this film another viewing because for some reason I just felt too distant from it. The concept behind the film seems like a strange mix of Pedro Almodovar’s ironic 1990 film Tie Me Up Tie Me Down, and Misery. Like Almodovar’s film Puppy is a strange mix of twisted comedy and romance. To me, this is not as interesting and exciting and at times feels a bit contrived with the screenplay. Kieran Galvin could be a filmmaker to keep an eye on as he progresses. He does make a good debut with this film, one that I think will definitely find an audience.

1950, Jules Dassin, United Kingdom

Repeat Viewing, DVD

"You're a dead man Harry Fabian. A dead man." Jules Dassin's brilliant 1950 film Night and the City is a quintessential film noir in the truest sense. While it's often debated and interpreted as to what 'film noir' is, the key element of noir lies in style (even more so then content or substance). Through it's dark and atmospheric visuals, noir style generally derives from expressionism of the silent era. While elements of themes and characters exist, film noir is ultimately a style, and Night and the City captures it to perfection! It's a film of such incredible mood and atmospheric black and white photography, shadows, and energy. The images are truly powerful and absolutely unforgettable. Night and the City is an assault on human morals. Richard Widmark gives an astonishing performance as Fabian, an ambitious con man who dreams of becoming a big shot wrestling promoter in London. Fabian just wants to be somebody, and even when he is, his fate is evident, as the network of deceit and lies slowly surround him. Even when he was on top, Fabian remained a 'dead man who was running and running'. The ending is absolutely brilliant, as Fabian provides a moment of redemption and morality to his girlfriend (played by the beautiful and incomparable Gene Tierney), who consistently tried to steer him in the right direction. Night and the City is a flawless masterpiece of endless depth, themes, and style. It's a film that grabs hold of you, absorbs you into it's world and imagery, and never lets up. It's classic film noir, and in fact, among the finest ever made!

ROBERT ALTMAN (1925 - 2006)

Robert Altman one of the great maverick filmmakers of American cinema, died on Monday Night at the age of 81. The news of his passing is sad and he will be greatly missed, but we should celebrate his life as one of the greatest artists of our time. His films will live on and we are all lucky for that. Here is a small tribute to the legacy Mr. Altman has left behind…

Since his debut feature in 1957, Altman has made 36 films in a span of nearly 50 years. Over that time he has received seven Academy Awards nomination and recognition and praise throughout the world for a variety of films. He is often considered one of the pioneers of Independent American film, and finally received an Academy Award this past year for Lifetime Achievement. Even if all of his features were not successful what remains evident is Altman’s true love and passion for filmmaking. Altman’s films are generally set on two narrative scales: the smaller, intimate examination of individuals, and the larger ensemble films that interweave a number of characters. Above all Altman’s focus is on characters and the lives of the characters. One of his greatest strengths as a filmmaker is the authentic moments he captures through his improvisational style. Altman has a trust and belief with his actors and he enjoys mistakes and flaws as an aspect of authentic behavior.

No matter what the scale he’s working with, Altman’s films have a narrative style that is ambitious, messy, and overlapping. He blends plot lines, characters, camera moments, and even dialogue together in one chaotic moment. His films are without straight-forward flow or rhythm and this tends to divide some audiences, but the overall sense of authenticity for human interactions and behavior is undeniable. Altman’s films also display his mastery of examining the social traditions of American society. This is expressed through his haunting, ironic, and deeply observant imagery as well as his ability to play and ultimately transcend genre. Altman has worked within all genres, yet not one of his films represent a definitive genre film, but rather a quintessential Altman film. For this it’s as if Altman is a musical composer, working on one vast opus. Not one of his films are alike, yet they each represent the trademarks of all of films. Nothing he does, is done in the standard form. He simply makes films like no one else in contemporary film.

I can’t justify with words the impact of Altman’s life and films. If you want proof, here are just 15 reasons why he is one of the greatest American filmmakers ever. Just watch these 15 films (or really any of his films!) and they say more then anything I could about Robert Altman:

- McCabe & Mrs Miller (1971)

- Nashville (1975)

- The Long Goodbye (1973)

- Short Cuts (1993)

- The Player (1992)

- A Perfect Couple (1979)

- M*A*S*H (1970)

- California Split (1974)

- Gosford Park (2001)

- Images (1972)

- A Prairie Home Companion (2006)

- The Company (2003)

- Brewster McCloud (1970)

- 3 Women (1977)

- Secret Honor (1984)

November 20th Log

1939, John Ford, United States
Repeat Viewing, DVD

Young Mr. Lincoln was made before John Ford in the era of legendary American filmmaker John Ford’s early acclaimed era. This era marked many of his most beloved classics (The Informer, Stagecoach, The Grapes of Wrath, How Green Was My Valley). Ford would make more poetically expressive and personal films starting in the 1950s (after he had already won 3 Best Director Oscars). Among them is a forgotten masterpiece, they may be apart of his more Studio-oriented era yet still becomes definitive Ford in theme and style. Made one year after his beloved (and probably more dated) film Stagecoach, Young Mr. Lincoln seems to be tailored-madefor Ford. As a symbol, Lincoln embodies the very values and traditions that all of Ford's films supported and the very metaphor of Lincoln seems to hold a cloud over all his films. Ford's films are always shot with a beautiful visual expression, but his focus is always on the story (even if told in a visually poetic matter). Ford often would use the western as a backdrop or metaphor in his mythical vision as a filmmaker, who supported the little-guy that struggles against the evils of power and greed. Underneath his "genre" westerns are Ford's truest feelings for America and a civilized society based on morals. Young Mr. Lincoln is not a western but it may capture these essential themes in the most definitive way of all of Ford's films. Henry Fonda gives one of the all-time great screen performances as Lincoln (maybe even surpassing his great performances in Ford's masterpiece The Grapes of Wrath). Capturing spiritual and mythical worlds in trademark Ford-fashion, Young Mr. Lincoln is one of his greatest films, and it may be the most quintessential of his mythical American themes (at least of his work in the 1930s).

November 18th Log

1956, William Wyler, United States
1st Viewing, DVD

This film won the Golden Palm for Best Film at the 1957 Cannes Film Festival, but its recognition as a classic seems to be minor today. Perhaps the old-fashioned sentiment has grown out, but this remains a beautiful film. The direction is by the great American filmmaker William Wyler, who may have lacked the definitive visionary styles of Studio directors like Alfred Hitchcock, John Ford, or Orson Welles, yet still stands as one of the greatest legends in American film history. Wyler worked with all film genres and style techniques and though Friendly Persuasion is not in the class of his greatest work, it has the classic look and feel and Wyler. The film has an appealing quality in the precise way it is made and performed. Wyler always worked well with actors and here he found the perfect casting choice for a leading man. As Jess Birdwell, Gary Copper is perfect in choice and execution. He gives the role a quiet, sensitive and convincing leading man. Through the richness of Wyler’s characterization, we react to the dilemma of Birdwell’s struggle between traditional beliefs and values or the protection of his family and home. The film examines the very nature of peace and violence through this dilemma. A perfect world of values and quiet harmony is explored and ultimately reconsidered underneath the surface of the film. There is more to this film within the context of it. Wyler wonderfully crafts this as a moving and pleasant family film.

1965, Elliot Silverstein, United States
1st Viewing, DVD

The playful tone is set from the opening as the Columbia Pictures logo transforms into a cartoon and the title son (“the Ballad of Cat Ballou”) begins. Nat King Cole and Stubby Kaye open with the signing (which is recurrent throughout the film) before moving into the story which starts off with Cat Ballou (played by Jane Fonda) in jail before flashing back to how she got there. Cat Ballou never takes itself too seriously and the result is a whole lot of fun. It’s really quite funny, mostly because of the show-stealing double performance by Lee Marvin. Marvin is hilarious as both the drunken gun-slighting hero and as his evil brother. Marvin won the Oscar for his performance and it really is well deserved as he is terrific here. Fonda also gives the film a nice presence and light-hearted feel with her performance as the title character. Cat Ballou is enjoyable throughout. Its got a little bit of everything and a whole lot of entertaining fun.

1944, Edward Dmytryk, United States
Repeat Viewing, Turner Classic Movies

Murder, My Sweet is based off the novel Raymond Chandler has said to be his own favorite ('Farewell, My Lovely'). This film was retitled Murder, My Sweet so audiences would not think the film was another Dick Powell musical comedy. Here Powell takes on an against-type Philip Marlowe and makes it work perfectly. As Marlowe, Powell is terrific in every way, as he gives the character a perfect pitch blend of toughness and uncertainty. Murder, My Sweet is trademark Chandler, and most of all trademark noir. Edward Dmytryk is one of the unheralded masters of the noir style and here he creates the perfect atmosphere of gloomy isolation, and darkness. Wrapping the narrative with a complex blend of murder, blackmail, dual identity, and lies Dmytryk adds the usual noir visual touch of expressive low-key lighting, sharp quick-witted dialogue, and night-time exteriors. In Chandler-esque noir fashion, Murder My Sweet is presented in flashbacks as Marlowe retraces with the police the events that lead to him going blind. More then it is of straight-forward plot, the film is made as though a series of flashes (both light and dark- even expressed at one point as a hallucinating world of visuals). There is a complex visual world of expression presented here, but it is equaled by the deeply complex web of a characters and twits that are created. Among the center of this complex web are the women: the femme fatale, flawlessly and seductive played by Claire Trevor, as well as Marlowe’s love interest (played by Ann Shirley). Full of corruption, deceit, and murder the film is packed with so many twists and turns one could easily get lost wrapping it all together. But as in Chandler’s The Big Sleep, the film is less focused on solving the mystery then it is on the cinematic and narrative elements that make it a timeless and quintessential noir. If there is a flaw it may be that the ending feels a bit forceful as a conclusion, but overall this is a really great film and among the definitive Chandler adaptations ever made.

November 17th Log

2006, Hong Sang-soo, South Korea
Repeat Viewings, DVD

Korean filmmaker Hong Sang-soo latest film, Woman on the Beach (his 7th feature), may be my favorite to date. There is nothing all that new or inventive from anything else Hong has done in the past (at least from the five features I’ve now seen), but Woman on the Beach gives a inspirational perspective on his earlier work. Perhaps more then anything he’s done, this film offers some hope. The tone is a cynical one, and the mood of isolation is expressed through the somber landscape (an isolated beach in the off season). Yet Hong offers hope and possibility through spiritual and psychological self-revelation. At least that is the way I took it. Honestly like much of Hong’s work, he leaves you with reflective thoughts and ideas through the minimal cinematic techniques and naturalistic style. Even through the simplicity, his films are always left mysterious and repeat viewings are helpful in understanding the emotional layers. Woman on the Beach has all the Hong trademarks: a dual love triangle narrative, loveless sex, drunk behavior, and his usual dose of zoom in and outs. In narrative approach, and style Hong appears to be at his most accessible and certainly most humorous with this film. It also has a very personal feel (even more so then his other work) and this is captured most expressively in the moment we see the director jotting down notes on his own psychology of obsession. This is a very intimate moment from Hong who seems to be reflecting his own obsessions with images and creation. Ultimately, Woman on the Beach is an exploration into this theme of obsession, and of self-identity, but perhaps mostly of careless and repetitive behavior in human relationships. Through his most conventionally structured and funniest film, Hong has made a deeply expressive and sad yet thoughtfully promising work (which is captured most beautifully in the final moments of revelation for both the man and the woman- after he calls her, we see her drive away on the beach). I’ve always found Hong’s films to be interesting. Here, with what may be his most accessible work, I believe he has made possibly his most exciting film to date.

1941, Yasujiro Ozu, Japan

Repeat Viewing, DVD

The Brothers and Sisters of the Toda Family is one of the few upper-class family films Ozu made but it very much captures the essence of what he would later master in his gendai-geki films. This film marks Ozu's earliest transition into his stage of postwar masterpiece. Brothers and Sisters of the Toda Family is the first of two films Ozu made during the war (this film was made after Ozu spent two years fighting China in the Sino-Japanese war). Ozu's personal experience certainly reflect in the film but this also stands as a key transition from his early work and his postwar films, as Brothers and Sisters of the Toda Family captures various elements of each era. Again at the center of the family lies the separation of family which is caused by the untimely death of the father. The film recalls Ozu's postwar films Tokyo Story (in it's tensions between generations) and End of the Summer (in in the deconstruction of the family), but also reveals some of his early work as the family begins to suffer with financial difficulties. This film displays early traces of Ozu's mastery with visual expression and composition, as it marked his first collaboration with cinematographer Atsuta Yuharu (who he worked with on almost every film afterwards). This film also was the first box office success in Japan for Ozu who would soon become known as "The most Japanese of all directors", which at the time made his films nearly inaccessible to those outside of Japan.

Thursday, November 16, 2006

November Archives #1

November 16th Log

1936, William Wyler, United States
Repeat Viewing, Turner Classic Movies

"I have to take care of her. A man's habits get pretty strong in 20 years." Ah what a wonderful film this is! Classic and magical filmmaking indeed. William Wyler is among Hollywood's finest filmmakers of all-time, and to me, this ranks only behind his 1946 masterpiece, The Best Years Of Our Lives. Among other things, Wyler mastered working with actors, and as such, his films always displayed brilliant performances. Dodsworth is no exception, as all the actors are fabulous. But most notable is Walter Huston as Sam Dodsworth. Houston gives his character honesty, charisma, and depth in one of American cinema's all-time great performances. The script and psychological character examinations are fascinating and quiet ahead of it's time. There are endless depths and themes to be found within the film (marriage relationships, jealousy, youth, unwillingness to change, personal identity, ignorance, and selfishness). The ending is such a lovely and perfect moment. Dodsworth is an absolutely unforgettable, timeless, and flawless film that should be placed among the greatest of the 1930's. "He's gone ashore. He's gone ashore."

November 15th Log

1948, Carol Reed, United Kingdom

1st Viewing, DVD

Carol Reed seems to be a forgotten or under appreciated filmmaker. His most acclaimed film, The Third Man, is often praised for its strong Orson Welles influence and involvement. His greatest masterpiece Odd Man Out (made two years before The Third Man), is generally overshadowed. In between those two films Reed made a film that seems to be forgotten all together. That is until the newly released Criterion Collection DVD brought this film back to life (which was nominated for Best Director and Best Screenplay Oscars). Fallen Idol is minor in comparison to the landmark status of The Third Man, but it remains significant none the less. It is significant in British cinema and most notably Reed’s career as his first collaboration with writer Graham Greene, whom he would collaborate with on two of his most highly acclaimed features (The Third Man, and One Man in Havana). Though in much simpler terms (the film is based of a short story by Green), The Fallen Idol deals a with themes of morality and of gaining growth, and knowledge through experience Reed would examine throughout his filmography (both before and after). Reed’s trademark camera techniques and angles are again evident here. Most of the film is through the young boys perspective and as such Reed keeps the camera low. The film is less successful in its suspense and becomes a bit less interesting in the whodunit final act. The Fallen Idol is still a worthy film. It is especially worth seeing for those familiar with Reed’s more cherished classics.

2001, Tsai Ming-liang, Taiwan / France
Repeat Viewing, DVD

I decided to rewatch one of my all-time favorite films: Tsai Ming-liang's 2001, What Time Is It There? is a masterpiece of pure brilliance. As original, exciting, and beautiful a film can possibly get. As with all of Tsai's films the camera consists of long, extended takes and isolated framing to enhance the alienation of the characters as well as create a claustrophobic atmosphere. There are also many moments of dialogue free silence. Tsai wants the viewer to absorb the film, to participate in it, and emphasize with the characters situations and emotions. It truly creates a challenging and thus a deeply rewarding cinematic experience. There are so many levels, meanings, and recurring themes ranging from separation, loss, loneliness, but it's ultimately about humanities connection and coincidence both with each other and between the living and dead. It's a calm, sometimes humorous, and always poetic film of the human soul's longing for love. The lovely (and mysterious) ending quietly arrives as the three main characters are shown sleeping and alone after having just failed to emotionally or sexually communicate. The final shot can be interpreted several different ways, but ultimately represents one of the films themes (the connection of the dead and living). To me, this film is unbelievably powerful and haunting. It's images beautiful and few films capture loneliness more effectively. Tsai is truly a genius and gifted filmmaker, and this may be his finest masterpiece. What Time Is It There is an absolute work of art, and among my all-time favorite films!

2003, Victor Salva, United States
1st Viewing, DVD

I’m a big fan of the 2001 original Jeepers Creepers film, which from its brilliant opening scene seemed to be a throw back to the old-fashion style of genre filmmaking. What made the film effective was several key factors: first the filmmakers left much to the imagination, secondly they did an outstanding job at playing with rhythm, and most importantly the film built an involving connection with the characters (a compassionate brother and a sister relationship). With this sequel writer-director Victor Salva seems to abandon all the factors that made the original such a surprisingly good film. The sequel begins where the original left off (except without the previous cast- though Justin Long makes a cameo in a dream sequence) and now Salva informs the audience that the monster only strikes for 23 days every 23 years. The film begins on the 22nd day, with an impressively made opening sequence in a corn field. There are plenty of cliches to the film and the really get revealed throughout the course of the film on a school bus of basketball players and cheerleaders. I really can’t say this is a bad film by any means, but it lacks the cleverness, excitement, humor, strong performances, and emotional involvement of the original. But Salva does generate some pretty good suspense here, even if it does come at the expense of more images of gore and of the monster (perhaps the result of a higher budget). While the characters are far less interesting, this sequel does a fine job of creating thrills through claustrophobia and a battle of survival. Jeepers Creepers 2 is not in the class of its original, but I’d still say it is a solid film on a level of genre filmmaking.

November 14th Log

1948, John Ford, United States
1st Viewing, Turner Classic Movies

"There's no question of honor between an American solider and Cochise. There is to me sir." I’ve always respected John Ford but I admit to never appreciating him as much as he is acclaimed (as he is commonly referred to as the greatest American filmmaker of all-time). However, much of that is the simple fact that I have neglected to see many of his films. Well, this month I’ve been watching as well as rewatching many of his films and I think beginning to see what I’ve missed. Fort Apache is the first film of what is referred to as John Ford’s “Calvary Trilogy’. Like the third Calvary film (Fort Apache) I was absolutely blown away by the power of this film. Made in 1948, Fort Apache is the era in which Ford would emerge as his own individual artist. Though he made some earlier masterpieces (The Grapes of Wrath, My Darling Clementine, Young Mr. Lincoln), Fort Apache established Ford’s movement into his quintessential vision as an artist working without regard for the studio system. Fort Apache is definitive John Ford mastery. Here he puts the overall narrative plot in the backdrop of his mythical world, one in which characters and landscape are poetically absorbed into traditions, conflicts, and morals. At the center lies the tension of the films protagonists (Henry Fonda as the Lt Colonel and John Wayne as the solider). Fonda also feuds with a Lieutenant who is in love with his daughter (played by Shirley Temple). Ultimately the film explores one of Ford’s most trademark expressions of leadership and the very basis and values of the leader. Also the film details (particularly in its final moments) Ford’s long-standing examination into a theme of “When the legend becomes fact, print the legend”. He later defined this in ironic detail with perhaps his greatest masterpiece, The Man Who Shot Liberty Valance. Of course, Fort Apache express many different themes and in variety of ways (be it with humor, action, adventure). Fort Apache is a film of mythical wonder. John Ford has masterfully created a universe, and one that is full of artistic expression. With it’s rich characters, stunning visual landscapes, flawless staging and compositions, and a beautifully moving way of capturing American rituals and traditions, Fort Apache stands as one of Ford most quintessential and artistic works.

2004, Hong Sang-soo, South Korea / France
Repeat Viewing, DVD

Even if his films don’t always work, Korean filmmaker Hong Sang-soo is one of the most interesting filmmakers in contemporary world cinema. Through his trademark naturalistic style, Hong strips the film of unneeded techniques to reveal the deeper layers of human truth. He creates an other-worldliness through characters emotional state of disconnection and his quintessential theme of identity and relationships. Ultimately this film (Hong’s 5th feature) is a reflective one that demands repeat viewings. Woman is the Future of Man is such a mysterious film and the mystery is generated through Hong’s modest style and outright narrative structure. While still exploring with boundaries, Woman is the Future of Man is the most straight-forward narrative film I’ve seen from Hong (at least of the four features I have seen to date). The film centers around the story of two men who ponder their relationship with the same woman. Hong uses his common element of loveless sex and lots of alcohol to express the emotional and psychological confusion of human relationships. Aiding this expression are naturalistic performances (by Sung Hyunah as the woman, and Yoo Jitae and Kim Taewoo as the two men), as well as Hong’s un-dramatic yet bittersweet sadness and complex emotion. Even after a repeat viewing, I was left with a feeling of mystery and doubt, but (like all the Hong films I’ve seen) still fascinated. Later this week and I plan on exploring Hong’s work further with a 1st viewing of his newest feature Woman on the Beach.

November 13th Log

2003, Iciar Bollain, Spain
1st Viewing, DVD

Take My Eyes opens with a woman in panic who is packing up and leaving her house with her son so quickly that she forgets to change her slippers for shoes. When she arrives at her sisters, she blames herself. Later we discover she has left the house to escape her violent husband. Take My Eyes does an effective job at subtly telling an emotionally involving story and also quietly building a great sense of tension. The film really becomes interesting as when it asks the viewer to sympathize (at least a little bit) with the husband as he tries to get help for his violent tendencies. What makes the film so emotionally complex is that it avoids cliches of characterizations. It is not presented simply as the wife being weak and the husband violent individuals, but the film explores deeper psychological emotions. It is all presented in a subtle style with an emotional atmosphere of doom and uncertainty. The lead performances (by Laia Marull and Luis Tosar) are terrific, but the real strength of this film is the script. Take My Eyes was the Best Picture winner at the Goya Awards (Spain’s Academy Awards) and you can certainly see the appeal in this moving and intense film.

2005, Hou Hsiao Hsien, Taiwan / France

Repeat Viewing, DVD

I saw this film for the first time back in February and have probably watched it an additional five or six times since then. Three Times remains my very favorite film of 2006 (Officially it was released in 2005, but did not reach America until this year)!! Three Times is a masterpiece of filmmaking and I believe rates among Hou Hsiao-hsien's very greatest cinematic achievements. In many ways, Three Times is like a collection of Hou's previous work. The film is structured as three unlinking stories featuring the same two actors (Chang Chen and the lovely Shu Qi) during three different time periods of Taiwan (1966, 1911, 2005). Each segment is not connected in terms of narrative, but each share similar linking themes of romantic relationships. Each segment stands brilliant and as a whole the film is a masterwork, but to me it is the first segment ("A Time for Love"- 1966) that is truly brilliant. Through simplistic and minimal techniques, Hou recalls his early work of young love and everyday living. There is also a sense of nostalgia, longing and atmosphere that transcend the film into one of feeling and is undeniably reminiscent of Wong Kar Wai's romantic longing. The second segment ("A Time for Freedom"- 1911) is presented as a silent film (moody music, titles cards and all!) and very much recalls Hou's 1998 film Flowers of Shanghai in that it takes place within a brothel. This is a daring and effective approach by Hou, who respectfully isn't attempting to remake a silent film, but rather uses the emotional power silent cinema creates. The claustrophobic visuals and sexual and political themes also recall Hou's earlier film. The final segment ("A Time for Youth"- 2005) captures a combination of Hou's Goodbye South, Goodbye (including the motorcycle rides through the city) and Millennium Mambo (including the endless smoking from Shu Qi) in examining the disconnected and alienated modern day youth. Through un-communicatingrelationships and loneliness, Hou is essentially detailing a poetic view of modern-day Taiwan in contrast to a time that is lost and needs to be held onto. Three Times is an important film from a very important filmmaker. Hou has created a deeply moving and thought-provoking film that examinations important issues of Taiwan and it's history, as well as human relationships and connection (or disconnection). The film is also a political one as the disconnecting relationships is very reflective of the historical relationship between mainland China and Taiwan. Three Times is a film to cherish, to revisit, and to remember.

November 11th Log

2006, Ryan Murphy, United States
1st Viewing, Theater

Running With Scissors opens with a voice narration telling you that everything you are about to see is based on real memoir and that we probably won’t believe any of it. What this does is setup the film, which is essentially an over-the-top film that seems to be trying to shock and out-due anything you have seen before in a film. Ultimately, however, there is little originality on the level this aims for. If the film scaled down and was a bit simpler (even in the most quirky of moments) it could have been a whole lot more effective and undoubtedly funnier. Running With Scissors is written for the screen and directed by Ryan Murphy in his feature debut, and he shows some inexperience particularly with comedic timing. There is some great music here (i.e. Elton John’s 'Bennie and the Jets'), but it is not always used as distinctly as it could be (plus the film takes on the challenging task of using Nat King Cole’s 'Quizas, Quizas, Quizas', a song forever linked in cinema memory for it’s use in Wong Kar-Wai’s masterpiece In the Mood For Love). However, the film does have its moments usually created from the outstanding ensemble cast of very talented performers (Annette Bening, Brian Cox, Gwyneth Paltrow, Alec Baldwin, Evan Rachel Wood, Jill Clayburgh, Joseph Fiennes). Cox is especially good in the films most successfully satiric role. The performances really keep the film from falling apart. Running With Scissors is an average dysfunctional family film disguised as something unique and deeper then anything else we’ve seen.

1940, John Ford, United States

Repeat Viewing, DVD

"I'll be everywhere. Wherever you can look. Wherever there's a fight, so hungry people can eat, I'll be there." The Grapes of Wrath is perfect in every sense of filmmaking. One of the very greatest novel adaptations put on film, this is a true classic in American film history. John Ford's direction is flawless and brilliantly collaborates with Gregg Toland master display of deep focus cinematography and lightning. Being adapted from a classic novel, The Grapes of Wrath may not be the definitive John Ford film, yet he makes it such with some of the most remarkable cinematic moments ever captured on film. The images in this film are absolutely breathtaking and rate among the most memorable and most powerful of all-time (Tom Joad returning home, Tom and Casey with the candle light, Ma with the earring in the mirror, the Joads entering the camp, Ma and Tom dancing, Tom leaving, etc). The Grapes of Wrath is a work of visual and emotional beauty. It's a poetic film that is caring yet deeply sad, yet ultimately hopeful. The performances are terrific. The great Henry Fonda gives one of the all-time greatest performances in film history as Tom Joad, and Jane Darwell is wonderful as Ma Joad (particularly at the touching sequence in which she reflects on memories. The shot when she looks into the mirror with the earrings is one of the very finest moments of acting, directing, and cinematography ever made). John Ford is often considered one of American films most important filmmakers, and while he's made some other great films, I'd personally consider this his greatest. A classic masterpiece of history that will live forever. "We'll go on forever. Cause we're the people."

November 10th Log

2006, Alejandro Gonzalez Inarritu, United States / Mexico

1st Viewing, Theater

Babel is the third feature from director Alejandro Gonzalez Inarritu. Each of them have been collaborated with his screenwriter Guillermo Arriaga, and Babel is said to be part of an unconnected thematic trilogy (with 21 Grams and their debut feature Amores Perros). All three films deal with human morality and the intersecting connection of lives through an accidental tragedy. Babel is undoubtedly their most ambitious, but unfortunately their most flawed film. That is not to say it is not an involving emotional experience, which much like 21 Grams and Amores Perros, Babel certainly is. Inarritu has such an ability of capturing intense human emotions and behaviors. I think one of the problems of the film is that the scope of the film is so grand that the smaller more intimate moments (which are deeply striking) become less gripping. This is a film that works better in moments then it does as a completed whole. Taking on a journey of human despair and suffering, the film can be difficult to withstand. Like their previous films, Babel interconnects several storylines (in Morocco, in the United States/Mexico, and another in Japan). You have to applaud the ambitiousness and while a wonderfully made and acted film, some contrives do emerge in order to bring the epic-scaled narrative focus and morality into the overall themes and thought-provoking ideas. To generate these ideas Babel mostly uses suffering as is aim, which makes for difficult experience. Babel’s primary exploration is of violence, misunderstanding caused through language or communication (and miscommunication). Inarritu does have a great sense of understanding and hope in humanity and this is captured in Babel’s most remarkable moments. To me the Morocco story is most effective in both its themes and humanity (particularly in the sad yet honest way it explores the “advantages” of Americans, but especially wonderful is the authentic compassion of the towns people, who gain nothing out of their selflessness). Babel’s other strength lies with a terrific cast of performances. Of course, I love Cate Blanchett (maybe more then anyone else in film today) and she is very good in a minor role which has her endlessly bleeding and fighting for her life the entire film. The incredibly gifted and versatile Gael Garcia Bernal gives one of the standout performances of the film, but capable veterans Brad Pitt, Adriana Barraza, and Koji Yakusho are also solid, as is newcomer Rinko Kikuchi in the role of a deaf mute. Babel is an emotionally intense and gripping film with moments that are masterful. As a whole, Arriaga’s script is a bit contrived and Inarritu’s grand scale a bit unfocused for Babel to be considered among the class of their two previous collaborations. To me, Babel is a good film with some great moments. I will look forward to seeing what direction these filmmakers go next, and would particularly like to see Inarritu direct a script outside of Arriaga.

1937, Yasujiro Ozu, Japan
Repeat Viewing, DVD

What Did the Lady Forget is a joy of a film from Ozu. His earliest influence as a filmmaker was from the West and while this is evident in much of his earliest silent films it may be most prominent in this early talkie. The film is a social satire of the upper class and it even mixes in elements of screwball comedy. The great German-American filmmaker Ernst Lubitsch (known for his "Lubitsch touch') seems to be an influence here. Ultimately this is Ozu at his most lighthearted and charming. This film does not express the human condition as powerfully as his previous film (his first talkie The Only Son), but even if on a lighter emotional level, there is still an honesty on insight of marital relationships. It is often overlooked, but Ozu is a genuine comedian filmmaker who began in comedy. Having developed through the silent era, he has a masterful skill with visual comedy. What Did the Lady Forget is a wonderful comedy highlight by terrific performances. This may not be the most significant film Ozu made, but it is among his most endlessly watchable and endearing comedies.

November 9th Log

1990, Alexander Sokurov, Russia
1st Viewing, DVD

The Second Circle is not a film for everyone, but those who have seen the work of Russian filmmaker Alexander Sokurov will know what to expect. Sokurov’s bare content and slow pace can occasionally be a dull experience, and while this film boarders the line the overall meditative and spiritual presence make this a rather intense cinematic journey. Of course the film demands the viewer to be involved within it, but if you are willing it can be a deeply effective experience. Sokurov’s incredibly long takes and slow style can actually be quite intense here. There is very little dialogue and maybe even less cuts, as the film absorbs the viewer in a way that takes on deeper levels of thought and interpretation. The films opening moments are very revealing as it begins with a shot of a man isolated within a windy storm of nature followed by (after the opening titles) symbol of the inevitability of death (the man’s father). I think the film take son many levels, but essentially believe it to be one of loneliness amongst nature and spirituality. I would say of five Sokurov films I have now seen, The Second Circle (along with Mother and Son) rates as my favorite.

1939, H.C. Potter, United States

1st Viewing, DVD

Fred Astaire and Ginger Rogers starred in a total of 10 films together, and they remain one of the greatest duos in the history of Hollywood. Nine of the ten films they starred in together were made in the 1930s with The Story of Vernon and Irene Castle being the last of the decade. In fact it essentially marked the end of the on-screen relationship as their next and last collaboration would not come again until ten years later with 1949’s The Barkleys of Broadway which was made at MGM Studios. The Story of Vernon and Irene Castle was one of the least success Astaire and Rogers films at the box office, and Rogers expressed a desire to distant herself from dancing and musicals and wanted to focus on more dramatic roles. After this film, RKO Studios (who made all the Astaire-Rogers films of the 1930s) gave Rogers her wish and it eventually resulted in a Best Actress Oscar in 1941 (for Kitty Foyle). However some of her dramatic roots even began to show here in this film, as this is perhaps the most serious of all the Astaire and Rogers films. The film is based on a true story, but that is less significant in terms of qualities of the film. However, parallels of Vernon and Irene Castle can certainly be made with Astaire and Rogers in the way they define elegance, grace, and style. Truly a duo worth remembering. The Story of Vernon and Irene Castle is another wonderful film from this lovely duo. Warm, romantic, and highly sophisticated this film will win you over like all of their films do. I would not put this among the class of their very best, but The Story of Vernon and Irene Castle is very enjoyable film. The final shot is a magically enchanting image of one of the greatest on-screen collaborations ever!

1949, King Vidor, United States
1st Viewing, DVD

The Fountainhead was a notorious critical and box office flop upon its 1949 release. Today the film has found a cult audience and it has become a “camp classic”. Well campy the film certainly is and you can see how its unique style and approach could be overlooked or ahead of it’s time. The film is based off a widely popular novel and perhaps that has something to do with the backlash of the film at the time (even though the screenplay is adapted by the books writer Ayn Rand). The literary material does seem very complex and difficult to adapt, but to me the most remarkable aspect of the film is the expressionist style created by director King Vidor. Made near the end of his acclaimed career, Vidor gives the film adapted a personal and cinematic touch (with the help of the great composer Max Steiner and cinematographer Robert Burks). The campiness of the film is generated from its blend of melodrama and philosophical depth. At the core of the film lies a complex examination of individualism and the integrity of the artist. Ironic, philosophical, and metaphoric The Fountainhead is one that speaks of individuality against all resistance. Through Vidor’s grand visual style the film creates a deeply absorbing and even sexual tension. The always terrific Gary Cooper gives a solid low-key lead performance, and it is perfectly supported by a radiant young Patricia Neal, who in her big screen debut here, seems to be representing a sexual undertone of the entire film. The Fountainhead is truly a rare film because few are made like it today or even were made like it in the 1940s.

November 8th Log

1991, Alfonso Cuaron, Mexico
1st Viewing, DVD

Before reaching international acclaim with the wonderful and widely popular 2001 hit Y tu mama tambien, Alfonso Cuaron was well regarded in Mexico for his 1991 debut feature Solo con tu pareja (Love in the Time of Hysteria). This film has never been released in the United States, until a recent DVD release from the Criterion Collection. Having seen (and loved!) all of Cuaron’s five features since, getting an opportunity to see this was a real treat. The result is a hidden gem of a film that captures the essence of Cuaron’s filmmaking. I often compare him to a modern-day Francois Truffaut for his humanist and social views, and the ability to blend style and compassion as well as capture youth and adolescence. While not on the masterpiece level of Y tu mama tambien, Solo con tu pareja shares much of its charming appeal and humor. The pace and style of the film is relentless, but in a way that is engaging and sexy. Cuaron again mixes sex and politics in subtle and light manner. Ultimately Solo con tu pareja examines sexual behaviors, desires, and consequences. The film was banned for several years in Mexico for its content on the growing AIDS crisis. Above all, Solo con tu pareja is a lot of fun and laughs while also an intelligent film of humanity and morals. Cuaron is a highly gifted filmmaker who through characters, script, and visuals can be equally powerful and funny. I believe him to be among the most interesting directors of his era, and Solo con tu pareja certainly expresses his earliest developments as a filmmaker. He has grown and improved since this debut, but Solo con tu pareja is a wonderful and enjoyable film on many levels. I look forward to revisiting this and many of Cuaron’s upcoming films (including this years Children of Men) in the future. He is a great talent!

2006, John Lasseter / Joe Ranft, United States

1st Viewing, DVD

The latest film from Pixar is another wonderful film of humor, incredibly inventive animation, and great storytelling. Directed by Pixar VP John Lasseter (who also did the Tory Story films and A Bug’s Life), Cars is further proof of Pixar’s reliable consistency in animation filmmaking. The strength is again in the wonderful characters, who even if two dimensional (or even automobiles), they each share something very genuine. The film is said to be a deeply personal one for Lasseter and perhaps that explains the films surprising 2-hour running time. The opening moments of setup are a little uninspiring and blatantly commercial driven for a Pixar film, but once Lightning McQueen arrives is the deserted desert town of Radiator Springs, the film becomes much more engaging (notably because of the various charcters- who are basically stereotypes, but still enjoyable). Cars is a film that speaks of kindness, care, and unselfishness. The heart of the film is ultimately just to slow down and enjoy life’s little pleasures and beauty. Helping capture this beauty is some breathtaking animated scenery of desert landscapes that would make John Ford proud. For all it’s wide appeal and commercial approach, Cars is essentially an old-fashion film with heart. It was a much better film then I was expecting simply because I thought the appeal would be for car or Nascar fanatics. Pixar continues to succeed on this level of filmmaking, and while I would not put this in the class of Monsters Inc or The Incredibles, Cars remains another highly appealing film.

November 7th Log

2006, Larry Charles, United States

1st Viewing, Theater

Borat (or as the full title goes Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan) is a film picking up all kinds of buzz for both it’s controversy and it hilarious comedy. When you see advertisements, such as the promotion trailer in which Entertainment Weekly debates whether or not it is the funniest movie ever, you have to wonder if such praise can effect the film (be it good or bad). Well I’m not really sure, but I do think Borat is a very funny film and in fact probably surpassed my expectations even after the media hype. I’m not calling this the funniest movie ever, but such a claim is ridiculous anyway (no matter what film it is referring to). There really is very little plot to this film, but perhaps that is where the charm comes from. In his first real cinematic showcase Sacha Baron Cohen shows a real talent for comedy as he takes offensive, gross-out humor to a new level of political and social satire. From the opening moments in Kazakhstan, Borat is stupid, yet ultimately genuinely intelligent in its meaningful explorations of world and national culture (and how different, yet how surprisingly alike they can be). Even though much of the films humor is generated through Kazakhstan and its culture, there is also a sense of capturing American ignorance and misunderstanding that make Borat such a clever film.

2006 (1971), Peter Bogdanovich, United States
1st Viewing, Turner Classic Movies

Directed by John Ford was a documentary made by Peter Bogdanovich in 1971 for the American Film Institute’s presentation of the Lifetime Achievement Award for John Ford. A documentary on the life and films of John Ford, Bogdanovich (a former film critic) had planned to release it to theaters. However, licensing of the film clips prevented distribution. Until now, as Turner Classic Movies has helped revised the film and Bogdanovich restored a new version with added scenes, interviews, and clips. Really seeing this on Turner Classic Movies is one of the reasons I’ve made Ford my own choice for director of the month and I will be seeing and revisiting many of his films throughout November. Directed by John Ford is a wonderful documentary. It’s a great tribute to a legend and to filmmaking itself. It is made rather simply by Bogdanovich, who lets the interviews and clips speak for itself. The film is most interesting because of the people Bogdanovich interviews: John Wayne, Maureen O’Hara, Henry Fonda, James Stewart, Martin Scorsese, Steven Spielberg, Clint Eastwood, and best of all Ford himself). The film is also narrated by Orson Welles (from the 1971 original version) and he opens by asking, “Directed by John Ford: What does that really mean?” Ford is one of the most respected directors among fellow directors throughout the world so it was a joy hearing others discuss what his films have meant to them. He is undoubtedly one of the most important figures in all of filmmaking and as deeply respected and beloved as he is throughout the world of cinema, Ford’s may still be undervalued. I know I’ve undervalued the beauty of his work, and this documentary as well as the films I’ve watched and plan on watching this month has me remembering what a great master he was.

1939, John Ford, United States
Repeat Viewing, Turner Classic Movies

Turner Classic Movies follow-up the documentary with one of Ford’s most acclaimed films, 1939 Stagecoach. Stagecoach is a film that holds more value for its importance then its quality. That is not to say the film is poor, but I do think it is one of Ford’s more overrated and dated films (along with The Informer). But there are some excellent qualities to this film, mostly the impact it generated within the western genre. Not only was Stagecoach was of the first Westerns to earn critical and audience acclaim, it also marked some rarities of the Western. Here is a film that dealt with characters in a more complex and genuine manner. Characters who are human in that they have equal flaws and weaknesses. There is a great sense of mythical wonder that is more fully expressed in Ford’s greatest films, but it is evident here. As is Ford’s trademark vast location (Monument Valley) and quintessential actor (John Wayne, in a role that may be his breakout into stardom). The performances are strong and Ford’s direction is outstanding as always, but the films weakness is the script. Ford was always able to get the best out of any script and he does so again with Stagecoach, particularly in the simpler, dialogue free moments (his introduction to Wayne’s character is especially a memorable moment). Stagecoach is an old-fashioned film with a defining vision of characters and storytelling. Ford would go on to make better Westerns, but Stagecoach rates among his most significant and influential.

November 6th Log

1952, John Ford, United States
1st Viewing, DVD

The Quiet Man is often referred to as one of John Ford’s most beloved films (he won his forth and final Best Director Oscar). Unfortunately it has remained unseen by me until today. While I prefer many other Ford classics, I can see the appeal here. It’s a film that is especially appealing to the Irish, as Ford captures the essence of the Irish culture with his trademark mythical and poetic style. Featuring a cast that includes the reuniting of John Wayne and Maureen O’Hara, who first starred together in Ford’s previous film Rio Grande. They have great chemistry even (or maybe particularly) when arguing with each other, and they are especially good in two of the films most memorable moments (O’Hara slapping Wayne in the face, and of course the final scene when she whispers into his ear). As good as Wayne and O’Hara (who’s featuring dyed red hair), the highlight of the film may be the beautiful Ireland landscapes. Prominently featured with vibrant colors (most notably green, which seems to cover every frame) The Quiet Man is a visually stunning film. It is a film that still holds up well and can appeal to all audiences for it’s wide range of comedy, drama, romance, and epic scale.

November 4th Log

1950, John Ford, United States
1st Viewing, DVD

Rio Grande is the third and final film of John Ford’s “cavalry trilogy’, and it also marks one of the pivotal works into his emergence as an individual artist outside the studio. Though Rio Grande was made within the studio, Ford (as he was able to do with many of his greatest films) worked within the conventions to create his own personal vision of artists filmmaking. Rio Grande is a film that is so carefully and beautifully made and one in which the small moments truly shine. As often with Ford, who was a visual poet, the most subtle moments can be the most impacting of the film (I loved the shot of John Wayne peeking into the window at his son). It is these Ford moments that capture all it’s expression through visuals alone. Of course Ford’s mastery as a storyteller is never lost, and Rio Grande has something for everyone to enjoy- action, romance, comedy, and a great cast of many Ford-regulars). This is the first of many collaborations between Maureen O’Hara and John Wayne, who would also star in Ford’s next film The Quiet Man. Rio Grande features many of Ford’s themes on honor, and courage. However, the emotional core of the film is the contrasting of patriotic duty and family responsibility. This is where the strength of the film lies and in the hands a of great filmmaker Rio Grande becomes a wonderful film. I can’t say the film is as flawless as some of Ford’s very greatest masterworks, but this remains a great film in it’s own right.

1935, John Ford, United States
1st Viewing, DVD

One of the earliest acclaimed films of legendary John Ford’s career was 1935’s The Informer, which is often referred to among his best films. While groundbreaking and definitely an early indication of a master filmmaker, I’d put The Informer among his more overrated works. Of course that is not to say this is a bad film, because it really isn’t at all. As early as the opening shot (a man’s shadow isolated on a wall), Ford’s influence is very evident here, as he is using many of the techniques and style he learned from the masters of German expression (notably Fritz Lang and especially F.W. Murnau, who’s 1927 masterwork Sunrise is clearly an influence). The Informer is not a western, but it is also a change of pace for Ford in it’s visual atmosphere as here Ford compresses the visual landscape to generate a claustrophobic atmosphere. This is really effect within the context of the film which is essentially centered around the psychological state of the character. Like Murnau, this is all captured through visuals and the use of expressive imagery (shadows, lighting, super imposed images, tracking shots). Ford also uses fog as a symbolic expression of the characters psychological state. The films flaws are when it goes away from this psychological atmosphere with less intriguing scenes of a group of rebels searching for the informant and then holding an underground court session to decide. When centered around the psychological state of the lead (slightly overplayed by Victor McLaglen), The Informer is an expressive and remarkable achievement of mood (also highlighted by a great Max Steiner score). The Informer won Ford is first of four Best Director Academy Awards and even though I believe he has made far more quintessential and complete works, this remains an important achievement within his acclaimed filmography.

2006, Takashi Miike, Japan / United States
1st Viewing, DVD

Of the Masters of Horror film series from Showtime, the film by Japanese cult filmmakers Takashi Miike has to be one of the most highly anticipated. Adding to the hype is the fact that the Miike’s episode was deemed unsuitable for television audiences and that it was banned and only put out on DVD. One thing you can always be assured of with Miike is that he is not going to ever let up, and the reputation certainly holds up here, and maybe even with more shock then you’d expect. Imprint takes some time to develop and build atmosphere (a Miike trademark) but when it gets going Miike plays it all out there. The results are mixed to me, but again you must admire Miike’s ambition as a horror filmmaker. Even when he shocks and disgusts audiences, his films usually examine a deeper social level of exploitation itself, by using the exploitation as a means of shock. His greatest work is built through atmosphere, and while Imprint does build a visually intense atmosphere, Miike losses track of the films overall focus and seems more intent on sock value. Everything doesn’t always make sense, but just when you think you understand, Miike throws something else out that to make the film even more ambivalent (notably in the film moment of the film, which could be interrupted in many different ways, including the possibility of the entire film being a hallucination). There are some disturbing images here (even for Miike standards) and I think the Showtime ban is understandable when watching the film. Overall, I’d put it among the better class of the Master of Horror series that I have seen, but I still find the film a bit disappointing on the level I was expecting from Miike. His fans will be satisfied with his English-language debut film and Miike is trying to say something here, but you have to wonder if he is trying to say too much.

November 3rd Log

2006, David Leaf / John Scheinfeld, United States
1st Viewing, Theater

“Well, it’s like they say, time wounds all heals.” The U.S. vs John Lennon is a film with several objectives in mind. Among them (though hidden with the context) is a reflective documentary that uses the cultural revolution of John Lennon against the American government with parallels of the current administration. However (with the exception of one interviewee mentioning George Bush), this documentary wisely never makes direct connection to any current situation. The film mostly documents Lennon’s post-Beatles ear, when he became a revolutionist for peace (of which President Nixon thought as a threat). The documentary is well made and informative- at least to me, though it very well could be familiar territory to die hard Beatles fans. Of course the music is terrific (the soundtrack includes both Beatle and Lennon solo work), and the filmmakers interviewed some very insightful guests. Most notably was that of Yoko Ono, who is strongly featured throughout the film. Besides giving a rare interview, Ono gave the filmmakers rights to many of the unseen Lennon archives. The U.S. vs John Lennon is an engaging documentary that speaks of individuality, peace, and human rights against establishment- for all generations!

1933, Yasujiro Ozu, Japan
Repeat Viewing, DVD

With Passing Fancy Ozu places a sense of heartwarming comedy amongst the setting of a Tokyo slum. In the most thoughtful and beautifully realized expression, Ozu captures the essence of a father-son relationship. The setting of this film was a change from Ozu's earliest work. While his previous films dealt more with subjects of youth and college, Passing Fancy became a transition into the working world. Passing Fancy was the first of an eventual thematic trilogy of sorts about Kihachi, a stubborn everyday man with a good heart. In these films (which also include A Story of Floating Weeds and An Inn in Tokyo), Kihachi is played by Ozu-regular Takeshi Sakamoto. Through Ozu's open, unpredictable, and simplistic narrative style, as well as Sakamoto's incredible performance, a deeply complex emotional texture is revealed within this character as well as his son (who is played with equal brilliance by Tomio Aoki). The film opens with a remarkable sequence that details Ozu's mastery of comedy and visual expression. Passing Fancy is a masterpiece of silent cinema, and a film that stands among the most pivotal of all Ozu's work.

November 2nd Log

1971, Turner Classic Movies

Turner Classic Movies has been featuring old episodes of The Dick Cavett Show and this week they played a rare 1971 interview with filmmaker Ingmar Bergman. Dick Cavett flew to Sweden to do the interview, which also features an appearance by Bibi Andersson, who has starred in many of Bergman’s films. Watching this was a wonderful treat for many reasons, but most of all because it is so rare to see interviews with Bergman. It was really interesting hearing him discuss his childhood memories and realize how they have become a strong reflection throughout his films (especially Fanny and Alexander, perhaps his most personal film- and one that was made many years after this interview). The most interesting portions of the interviews were hearing Bergman discuss films (both his own and others work). However, the majority of the interview was focused on discussing Bergman’s work with actors (this may be because Andersson was present). Anyway, it was a nice little treat for Bergman fans.

1957, Ingmar Bergman, Sweden
Repeat Viewing, Turner Classic Movies

Turner Classic Movies followed up the Dick Cavett interview with Ingmar Bergman’s most highly regarded classic and the film that brought him to the center stage of world cinema: 1957’s The Seventh Seal. This is a film I have seen many times and like most of Bergman’s work it’s openness for interpretations allows for a different experience upon each viewing. The more I see the film the more the truly dark humor elements arise from this film. Of course, the presence and uncertainly of death looms over the entire film but there is also a truly humorous level to this film. Of course Bergman’s previous film, Smiles of a Summer Night is a comic masterpiece and it’s success help get The Seventh Seal financed. Bergman’s reputation was cemented throughout the world and has since made his most memorable and definitive masterworks. The Seventh Seal is often referred to as Bergman’s greatest film, and while I won’t argue it’s significance in cinema history or even Bergman’s filmography, I do believe he has surpassed this work with several other films. Of course that is not to discredit The Seventh Seal, which I would rate a masterpiece. A film of vision, and one that is perfectly framed and representative of it’s filmmaker themes and emotions. I will continue to watch and ponder this as well as many of Bergman’s other films throughout my lifetime.

November 1st Log

1946, John Ford, United States

Repeat Viewing, DVD

This moth I will be watching or rewatching some of the work from legendary filmmaker John Ford. Ford is a filmmaker who’s work I’ve yet to deeply explore (with the exception of most of his regarded classics). I decided to start off with on I’ve seen and I consider among his best films: 1946’s My Darling Clementine. This is a moving and stunning examination of loyalty, family unity, and society's evolution. There have been many versions of Wyatt Earp and the shoot-out at the OK Corral, but this unquestionably remains the definitive one. The characters are presented in a warmhearted and realistic approach as the film calmly builds to it's climax. Visually, this film is pure perfection! Ford was a visual poet, as My Darling Clementine represents. Each and every frame is beautifully composed and meaningfully detailed. Also, the landscapes are absolutely breathtaking. The casting and performances are flawless. The great Henry Fonda (one of my personal favorite actors of all-time) is so simplistic, yet completely brilliant in portraying Wyatt Earp as a determined, courageous and noble Marshall. Though not a complete focus of the film in terms of characterization, Clementine plays a critical role in representing both the films themes and the town of Tombstone itself. She evoked a change in the town and in Wyatt Earp. And of course, the ending is so deeply lovely, simple, and effective! My Darling Clementine is a classic landmark film from one of America's legendary filmmakers.

2006, Linda Goldstein Knowlton / Linda Hawkins, United States
1st Viewing, DVD

You’d like (at least based upon the title) that this documentary is one that explores Sesame Street in an unsympathetic or even satirical way, but it is really quite the opposite. The film is a positive reflection on the universal qualities, possibilities, and values Sesame Street can hold not only in the United States, but throughout the world. Obviously the cultural differences exist, but the emotional core and human ideals make the message of the program a universal one for child all over the world. It is this cultural and social examination that lies at the heart of this film. The World According to Sesame Street is not the most effectively made documentary in terms of it’s filmmaking, yet it is deeply intriguing and touching at the same time. The films main focus centers around Sesame Street representatives trying to get the show produced throughout various countries. The film is at it’s best when showing the impact the show has on the culture and more importantly on the children. As a title card suggests at the end, Sesame Street is making its impact in over 100 countries throughout the world. This is a nice film with a hopeful and positively uplifting spirit.