February 28th Log

A GOOD YEAR
2006, Ridley Scott, United States
1st Viewing, DVD

A Good Year opens with a young boy playing chess with his uncle. We see him cheat to win and this transitions “a few vintages later’ where we see the boy is grown up (Russell Crowe) and working a high-end job as a big money stock trader. The film occasionally flashes back to his childhood as Crowe returns there after his uncle dies and leaves the estate to him. A Good Year is a predictable film in the sense that we know everything that is coming, yet the overall fun and conventional charm is appealing. This is a reteaming of Crowe and director Ridley Scott and it is interesting (if not perfect) seeing both out of there element in a more light-hearted comedy. I wouldn’t consider Crowe the next Cary Grant or Scott the next Frank Capra, but that is the spirit they reach and on most levels they achieve. The real charm of the film comes in the old-fashioned way Scott handles his stars. Besides Crowe he gives compassionate treatment of the supporting cast (Abbie Cornish, Tom Hollander, Albert Finney, Freddie Highmore, Didier Bourdon, Archie Panjabi). Especially good is the radiant presence of Marion Cotillard who is given a wonderful star entrance. Cotillard has always been one of my favorite French actresses and hopefully this film will earn her more acclaim in the United States. She is radiant here and is essentially the brightest piece of the film. A Good Year has its flaws, but most of them come when Cotillard is offscreen. The film has some sweet messages about timing and enjoying the true pleasures of life, but it is told in a way that is never too serious. Most of this has been recycled, but A Good Year is a film that seems to embrace the old-fashioned romantic comedies.



THE BLACK DAHLIA
2006, Brian De Palma, Germany / United States
Repeat Viewing, DVD

I had planned on watching a different film, but pushed it off for next month simply because I’ve had an itch to watch Brian De Palma’s latest film again. I really enjoyed this film and continue to hear negative feedback. Was I just in a good mood the day I watched it, or I am to forgiving of Brian De Palma’s style over substance filmmaking? What ever it is I enjoy this film on many levels and a repeat viewing only furthered that feeling. What I admire is his style but more specifically the way De Palma captures a moment on a purely visual level. This is expressed most remarkably in a pivotal setup sequence which ultimately combines the two parallel narratives of the film. It is a stunning long crane shot that recalls the mastery of Welles opening shot in Touch of Evil. The Black Dahlia is loaded with noirish elements and perhaps this is the other factor that attracts me to it. The performances aren’t that memorable, but the talented cast is good enough to perform within De Palma moody atmosphere and Vilmos Zsigmond’s expressive stylish photography. The one performance that really stands out is in the films darkest and most haunting moments of fictionalized black-and-white screen tests of Elizabeth Short (highlighted by the performance of Mia Kirshner alongside De Palma's behind the scenes voice as the director). At the center of The Black Dahlia is one of De Palma’s lasting obsessions as a filmmaker: which is that of the lasting subconscious memory. Here it is the image of Elizabeth Smart and even when the crime is solved, De Palma’s remains more focused on the lingering memory that will continue to haunt the detective.

February 27th Log

STRANGER THAN FICTION
2006, Marc Forster, United States
1st Viewing, DVD

Relying on its charming performances and clever script, Stranger Than Fiction is an enjoyable film. The film centers around Harold Crick a man who is searching for the author/narrator of his own life. His seemingly non-existent life suddenly changes with his impulse to change and take chances. Stranger Than Fiction is about these little moments and decisions of life, but it is also essentially about the process of writing and creation. However, the strength of the film is that it avoids dwelling on its ideas of the writing process and centers on the characters and most importantly on the endearing moments that make these characters such universal figures. What I really admired about the film is how it emerges itself into a rather sweet romantic comedy. The film has a personal aspect of its writer that easily recalls the work of Charlie Kaufman, but under the light-hearted direction of Marc Forster, Stranger Than Fiction relies more on its charm. Will Ferrell and Maggie Gyllenhaal are wonderful together and Emma Thompson is always reliable. Stranger Than Fiction reminded me more of a cheerful Woody Allen in the sense that it uses the creative process, comedy/tragedy, human relationships and sensibilities all as a source of its characters. You could probably nit pick at flaws, but the pure enjoyment and intelligence of this film is reminiscent of some of the old classic Hollywood romantic comedies.



49TH PARALLEL
1941, Michael Powell / Emeric Pressburger, United Kingdom
1st Viewing, DVD

Michael Powell and Emeric Pressburger make up one of the greatest writer-director teams in the history of cinema. Together they made 19 feature films under there trademark ‘Archers’ name. 49th Parallel is the first film the British duo made together and it ultimately was the first of two films Powell and Pressburger were nominated for Best Picture (The Red Shoes being the other). Pressburger won the Academy Award for best Screenplay with this film. The 49th Parallel is a good and important film, but one I would not consider among the best from Powell and Pressburger. Today it stands a bit more dated in its propaganda slant, but the Powell-Pressburger magic gives it something to hold on to. They have a way of making films that bring out the pure imagination of cinema and filmmaking. The performances are a bit overdone (specifically from Laurence Olivier), but this is exciting and extravagant filmmaking, which can be viewed as propaganda but also has a twisted sense of sympathy for the Nazi enemy. 49th Parallel features some of there trademark ‘artificial realism’. They are filmmakers that create universes and somehow that seems to make the whole idea of this film more intriguing as wartime propaganda, or as a thriller. Powell and Pressburger just know how to make a film and though they would later go onto to make far superior work, 49th Parallel is well worth viewing.

February 26th Log

FLUSHED AWAY
2006, David Bowers / Sam Fell, United Kingdom / United States
1st Viewing, DVD

DreamWorks animation teamed up with the brilliant creators of the claymation series Wallace & Gromit (Aardman Features) to produce Flush Away, a hilariously clever and endlessly entertaining computer-animated film. With a title that seems to be a humorous twist on Hayao Miyazaki’s imaginative masterpiece Spirited Away, Flushed Away is very British, while it also seems to match just the right pitch of American flavor to make it a truly universal comedy. The delightful wit of Aardman is evident throughout as Flushed Away is a wonderful film from start to finish. There are so many little moments of clever wit, which will only improve with repeat viewings. This is Aardman’s first work with computer animation and with the help of DreamWorks they have created a beautiful underworld of visuals. The depth and specific detail of every single area of the shot is incredible, and again can only truly be appreciated through repeat viewings. Flushed Away is the kind of film you want to watch again and again be it for the visual complexity, the hidden little moments of humor, or simply just the pure fun of the entire film and these amusing characters. The voice –over work is as good as you can possibly get in animation. Kate Winslet and Hugh Jackman play off each perfectly and the supporting voiceover performances are equally terrific (Ian McKellen as the villain toad; Bill Nighy and Andy Serkis as his guards; and especially funny is Jean Reno as the leader of a group of frog ninjas). Of course not to go without mention are the little slugs with eyes who have no dialogue but can be seen and heard singing tunes or sound effects throughout the film. Flushed Away has a little bit of everything: comedy, adventure, action, and romance. I don’t know if audiences will embrace this with the same joy they have for the beloved claymation series Wallace & Gromit, Flushed Away is a film that shares it spirit of clever humor, witty characters, and completely endearing filmmaking. A great film!



MY BEST GIRL
1927, Sam Taylor, United States
Repeat Viewing, DVD

I had a craving to rewatch a silent film and I wanted it to be either one starring Mary Pickford or the great Lillian Gish. Since it has been longer since I’ve last seen a Pickford film, I choose My Best Girl from 1927- the peak (and ultimately the end) of the silent era. I’m not sure what it is exactly, but this film deeply intrigues me. There's nothing new, or inventive about this simple film. Is it the lovely performance of Mary Pickford? Is it the beautifully shot photography? Or is it simply the charming and warmhearted comedy and romance that's so irresistible? Actually, it's all the above! My Best Girl is just such a lovable film. Lead by the screen presence of the legendary "American Sweetheart" Mary Pickford. Pickford is among the greatest actress of the silent era, and this is her final silent film. It's also a (very) rare performance as an adult. Ultimately this is a satire on middle American lifestyle of the 1920s. Pickford absolutely lights up screen throughout, but particularly the moment in which she discovers who Joe really is. Her reaction is classic! Heartbreaking yet loving and deeply funny. Really there are many memorable moments and supporting characters, but the ending on the boat is truly memorable and wonderfully romantic. Don't miss this undeniable silent gem! "I'll go as far as you.”

February 25th Log

A LITTLE PRINCESS
1995, Alfonso Cuaron, United States
Repeat Viewing, Encore

A Little Princess begins with an Iris-In shot of a magical world of wonder. This world is one of storytelling by that of a young girl, Sara Crewe. Sara is an imaginative, intelligent girl who's living in India with her father. World War I forces Sara's father to move her to a New York Boarding school, which is run by the strict and cruel Miss Minchin. Simple as it may be, A Little Princess is absolutely enchanting and will connect on all emotional levels (be it tension, joy, laughter, fear, heartbreak, etc). It's a film of imagination, storytelling, strong will, courage, charm, and kindness. There is not one dull moment. Mexican filmmaker Alfonso Cuaron's direction (in his first American film) is outstanding as the film features a flawless pace and some dazzling, sweeping camera movements which heighten the magical atmosphere of the film. Cuaron also manages to get terrific performances from his young actors (of course, most notably that of Liesel Matthews as Sara). There's really so much to love about this film. There are some moments that will absolutely touch you with happiness, warmth, and joy. The ending is especially moving, and even though you see it coming, the impact is undeniable and guaranteed to pull you in. A Little Princess is a film for everyone (all ages!) as it speaks on universal themes and emotions of dreams, wishes, innocence, adventure, and imagination. This is a magical film that will forever remain a timeless classic for all to admire. And, Iris-Out!

February 23rd Log

EARLY SUMMER
1951, Yasujiro Ozu, Japan
Repeat Viewing, DVD

This is the very first Ozu film I ever saw and it remains among my favorite of all his work. Like many of the films he has made, there is a complex depth underneath the simplicity and lightheartedness. With reflection and repeat viewings Early Summer emerges as one of Ozu’s most emotionally complex and perfectly constructed films as it details the separation of the family through life inevitable changes. Even in its bittersweet sadness, there is a peacefulness to this film that makes it so wonderful. It is unfair or unjust to give general labels to Ozu’s work, but one can not help think of Buddhist philosophy when watching Ozu’s postwar masterpieces. Certainly the idea of ‘'Mono no aware' (or the awareness of the transience of things) comes to mind in Ozu’s films. Early Summer may be one of the greatest expmaples of this. Capturing the family over three contrasting generations, Early Summer is beautiful and moving right up to it's final moments as the camera moves away from the village (with a rare Ozu tracking shot which works with the opening shot of waves to represent the change and the cycle of life).

>> More on Early Summer @ A2P Cinema's Yasujiro Ozu website HERE

>>> Here is a scene from Early Summer.
Is this a moment of 'Mono no aware' from Ozu?:





ONCE UPON A TIME IN THE WEST
1968, Sergio Leone, United States / Italy
Repeat Viewing, DVD

The month long celebration of Ennio Morricone leading up to his Honorary Oscar on Sunday may have reached its peak with yesterdays viewing of Days of Heaven and now today’s Once Upon A Time in the West. To me these may be Morricone’s two greatest musical scores, both of which should be considered among the best in film history. Sergio Leone's sprawling "spaghetti western" epic Once Upon a Time In the West will certainly absorb the viewer from the very opening credits. A sequence which lasts over 10 minutes and features very (if any) little dialogue. Like Leone's other epic westerns, Once Upon a Time In the West is a cinematic treat packed with originality and style to generate a truly fun experience. Leone's typical extended takes, and extreme close-ups are evident throughout. The strength of the films lies in the glorious use of wide-screen cinematography. Also, Leone's clever techniques and tension building setups a nothing short of masterful. There are some really fascinating moments that are a joy to watch. Leone is also a master at dealing with irony and this film is no exception. The performances are all strong, and it's particularly interesting seeing the legendary Henry Fonda play against the normal as a villain. And of course the beautiful presence of the stunning Claudia Cardinale. Once Upon a Time In the West is just such a fun film to watch. Leone is a brilliant filmmaker who relies more on emotional feeling then historical accuracy. What results is an absolute epic pleasure!

12 MEMORABLE BEST PICTURE WINNERS #12

MILLION DOLLAR BABY (2004)

77th Academy Awards

Nominated With:
The Aviator
Finding Neverland
Ray
Sideways

Directed By:
Clint Eastwood

Starring:
Clint Eastwood, Hilary Swank, Morgan Freeman

Synopsis:
This multiple Oscar winner follows a determined young athlete who, through her sheer determination, awakens a long-lost fire within two aging boxers. Despondent over a painful estrangement from his daughter, trainer Frankie Dunn (Clint Eastwood) isn't prepared for boxer Maggie Fitzgerald (Hilary Swank) to enter his life. Maggie's determined to go pro, and she eventually convinces Dunn and his cohort (Morgan Freeman) to help her get to the top.

Why this is a great choice:

The Academy struck gold in the 77th year by making some really great decisions in both the nominations and wins (Eternal Sunshine; The Incredibles; Before Sunset getting a nomination; etc). After making the wise choice the previous year, the Academy proved themselves to be making great progress with some of their selections (of course that would prove false with the following years pick of Crash as Best Picture). Maybe it is the love fest of Eastwood, but I think the beauty of Million Dollar Baby could not be denied from the voters. It is a heartbreaking noir and one of the great American films of the decade. Well done Academy!!

RECAP OF THE 12 MEMORABLE BEST PICTURE WINNERS:

- Million Dollar Baby (2004)

- The Lord of the Rings: The Return of the King (2003)

- Unforgiven (1992)

- Amadeus (1984)

- Ordinary People (1980)

- Annie Hall (1977)

- The Godfather (1972)

- The Apartment (1960)

- The Bridge on the River Kwai (1957)

- The Best Years of Our Lives (1946)

- Casablanca (1942)

- How Green Was My Valley (1941)

February 22nd Log

DAYS OF HEAVEN
1978, Terrence Malick, United States
Repeat Viewing, DVD

Continuing with the films scored by Ennio Morricone, with what very well be his finest achievement in cinematic music: 1978’s Days of Heaven. This is a film I love and absolutely consider a personal favorite for many reasons, but I’d like to briefly share some reflection on the films visionary filmmaker, Terrence Malick. His transcendent use of imagery and sound, unconventional use of voice-over narration, symbolic visuals (which usually feature elements such as earth, fire, water), lush and rhythmic editing, absorbing use of nature, lyrically complex counter-pointing narratives all embody and define the artistic visionary world of Malick’s work. Malick is a filmmaker who explores his environments through exact, poetic and breathtaking compositions. The characters of his films are often presented in a way that they are part of, or inescapable from, a historic moment or a certain time and location. They are films of feeling in the purest form of cinema, through images and sound. His films are about senses, which is why they transcend intellectual examination as well as transcend genre or narrative form. Malick’s films counterpoint reality and fiction through the sheer purity of cinematic images. Nature or more importantly humanities harmony with nature lies at the very heart of all his films. The essence of Malick’s cinematic world is like a river of water in several ways. For one nothing in his films are steadily attached to itself (either in subject matter or in appearance). Rather everything flows together like a river and Malick works as the rivers guide towards a flowing movement. Of course the use of repetitive symbolic imagery and especially voice-over is most definitive of Malick. In a way Malick’s use of voice-over becomes a film onto itself and takes on it’s own meditative experience. Such is the case with Days of Heaven (which concludes with a beautiful voice-over saying: "This girl, she didn't know where she was going, or what she was gonna do. She didn't have no money. Maybe she'd meet up with a character. I was hoping things would work out for her. She was a good friend of mine."). Days of Heaven is perhaps Malick’s greatest and certainly most quintessential film. In it’s most basic concept, Days of Heaven defines Malick’s philosophy of film in that everything (be it humanity, nature, or spiritual) exists and has an identity. Days of Heaven is a cinematic experiences and that is the very essence of Malick’s films. Though they transcend analyzing, Malick’s films still become a means for meditation and thought of the composition and expression of the film images and the sound. They are poetic journeys that transcendent time and place while equally haunting and obtaining spiritual, imaginative, and philosophical thought. His four films stand among the most memorable artistic achievements in film. I love every one of Malicks films, but Days of Heaven may be his most perfect masterwork.



PRIDE AND PREJUDICE
1940, Robert Z. Leonard, United States
1st Viewing, DVD

This 1940 adaptation of Jane Austen’s classic novel is surprisingly good in both it’s execution and detail. The novel has since been adapted to the screen with superior work (be it the 1995 BBC version, as well as Joe Wright’s brilliant 2005 adaptation). This version, directed by Robert Z. Leonard is pretty standard MGM studio fare, but the performances and especially the elegant set and costume designs keep this film lively. Greer Garson gets a dream role here playing one of the great woman characters in British literature Elizabeth Bennet. She is really required to carry the film (especially with MGM’s reign over the film) and Garson shines especially when on screen alongside legendary Laurence Olivier, who is playing Mr Darcy. Mary Boland, Edmund Gwenn, Edna May Oliver, Maureen O'Sullivan, Ann Rutherford, and Karen Morley provide nice supporting roles. Maybe I love this story and Jane Austen’s work too much, but I found myself involved in this throughout. Not the most memorable work (patricianly considering there are far better film versions of the novel available today), but this is a good film with a great cast and beautiful set design work.

12 MEMORABLE BEST PICTURE WINNERS #11

THE LORD OF THE RINGS: THE RETURN OF THE KING (2003)

76th Academy Awards

Nominated With:
Lost in Translation
Master and Commander: The Far Side of the World
Mystic River
Seabiscuit

Directed By:
Peter Jackson

Starring:
Elijah Wood, Ian McKellen, Viggo Mortensen, Sean Astin, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Miranda Otto, Bernard Hill, Andy Serkis, John Noble, Liv Tyler

Synopsis:
The third of the trilogy. As the shadow of Mordor grows, Aragorn (Viggo Mortensen) is revealed as the hidden heir to the ancient kings. As he, Gandalf (Ian McKellen) and the other members of the broken fellowship struggle to save Gondor from Sauron's forces, Frodo (Elijah Wood) and Sam (Sean Astin) bring the One Ring ever closer to the heart of the dark lord's realm. Director Peter Jackson's epic won 11 Academy Awards, including Best Picture.

Why this is a great choice:
After denying (with the exception of it’s visual effects) the previous two installments of the epic Lord of the Rings trilogy, the Academy honored Peter Jackson’s final film with a record-tying 11 awards. It won every award it was nominated for and time will undoubtedly prove this a lasting and worthy winner. Was the Academy awaiting the trilogy (which is essentially one long film) completion? That is probably the case, which really makes the film even more honorable and more fitting.


12 Memorable Best Picture Winners -- previous enteries:
- Unforgiven (1992)
- Amadeus (1984)
- Ordinary People (1980)
- Annie Hall (1977)
- The Godfather (1972)
- The Apartment (1960)
- The Bridge on the River Kwai (1957)
- The Best Years of Our Lives (1946)
- Casablanca (1942)
- How Green Was My Valley (1941)

12 MEMORABLE BEST PICTURE WINNERS #10

UNFORGIVEN (1992)

65th Academy Awards

Nominated With:
The Crying Game
A Few Good Men
Howard’s End
Scent of a Woman

Directed By:
Clint Eastwood

Starring:
Clint Eastwood, Gene Hackman, Morgan Freeman, Richard Harris, Jaimz Woolvett, Saul Rubinek, Frances Fisher

Synopsis:
Long-retired gunslinger William Munny (Clint Eastwood) reluctantly takes one last job -- and even more reluctantly accepts a boastful youth (Jaimz Woolvett) as a partner. Together, they discover how easily complicated truths are distorted into simplistic myths about the Old West. Gene Hackman (who won an Oscar) and Richard Harris stand out as old foes who have an unhappy reunion. Other Oscars include Best Picture and Director (Eastwood).

Why this is a great choice:
The Academy lovefest for Clint Eastwood began here as he earned three nominations for Picture, Director, and Actor (he won the Best Pictures and Director awards). Since then Eastwood has received Best Picture/Director nominations on three more films in addition to the Honorary Award he was presented in 1995. Unfogiven is one of the truly great westerns of contemporary American cinema. A film that is well achieved in all areas of filmmaking, Unforgiven is as a hauntingly tragic film from a filmmaker who improves with age.


12 Memorable Best Picture Winners -- previous enteries:
- Amadeus (1984)
- Ordinary People (1980)
- Annie Hall (1977)
- The Godfather (1972)
- The Apartment (1960)
- The Bridge on the River Kwai (1957)
- The Best Years of Our Lives (1946)
- Casablanca (1942)
- How Green Was My Valley (1941)

February 20th Log

THE PAINTED VEIL
2006, John Curran, China / United States
1st Viewing, Theater

I really admired John Curran’s previous feature We Don’t Live Here Anymore. His third film The Painted Veil, deals with some similar issues of marital relationships but on a much more ambitious and epic scale. This is a sweeping film and one that sadly seems to have been forgotten through poor distribution and marketing. This is made in an old-fashioned and classic cinematic style of a period epic. Shot entirely in China, The Painted Veil is beautifully composed. The greatest strength lies in the terrific performance by the always reliable Naomi Watts, who is the emotional core the film. Watts is reteaming with Curran (she was one of the four main characters of his previous film) and she is again wonderful as quiet society woman who marries a bacteriologist for reasons besides love. While Watts steals the show, Edward Norton is good enough in the role of her husband, and the film features great supporting performances (especially from Toby Jones as the neighbor). The film effortlessly flows a narrative of romanticism, social class, and politics while remain completely engaging and well paced from beginning to end. I found The Painted Veil to be a wonderful experience. A film that I presume will reveal more emotional depth upon further viewing as the initial experience is left marveling the performances and the atmosphere (heightened by lovely locations, period details, photography, and a glorious musical score from Alexandre Desplat).



THE PRESTIGE
2006, Christopher Nolan, United States / United Kingdom
1st Viewing, DVD

The Prestige sets the tone from the start when a voice asks “Are you watching closely?” as we see an interesting open image of a pile of top hats. Immediately the film tells us to expect the unexpected, and that we are indeed watching a film that is in itself a trick. One can’t help thinking of The Illusionist (another 19th-century magician film) as The Prestige followed its release within weeks. To me, The Prestige is the less effective and absorbing film as a whole yet it remains its own work. Director Christopher Nolan is a crafty filmmaker and The Prestige is certainly well made and beautiful to look at. By the end of it’s 2+ hours running time, the film has a bit too many “surprises” and ”twists” many of which were actually rather predictable. Christian Bale is always an interesting actor and he gives a strong performance here. The cast is loaded with talent (Bale, Hugh Jackman, Michael Caine, Scarlett Johansson) but none of them standout. Johansson provides a sultry presence as the magician’s assistant, but she is given little character to work with and ultimately is rather dull. The Prestige has some magical moments particularly early on when Bale and Jackman are working together. The film losses some of its steam as they begin to plot double crosses and plots on each other.

12 MEMORABLE BEST PICTURE WINNERS #9

AMADEUS (1984)

57th Academy Awards

Nominated With:
The Killing Fields
A Passage to India
Places in the Heart
A Soldier’s Story

Directed By:
Milos Forman

Starring:
F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Simon Callow, Roy Dotrice, Christine Ebersold, Jeffrey Jones

Synopsis:
F. Murray Abraham earned a Best Actor Oscar for his imperious performance as Antonio Salieri, a mediocre composer whose churlish young rival, Wolfgang Amadeus Mozart (Tom Hulce), wins immortality with his musical genius. Salieri, not happy to see his talent eclipsed, deviously plots revenge. Sly and compelling from start to finish, Amadeus also won Oscars for Best Picture and Best Director (Milos Forman).

Why this is a great choice:

Amadeus is a film that offers a different perspective on the biography film. Here is a film that uses Mozart in a unique way ultimately becoming more an examination on various themes and more specifically on Antonio Salieri’s jealousy. It is an energetic period film almost with a modern tone. Amadeus is a rare film that seamlessly blends art and entertainment.

12 Memorable Best Picture Winners -- previous enteries:

- Ordinary People (1980)
- Annie Hall (1977)
- The Godfather (1972)
- The Apartment (1960)
- The Bridge on the River Kwai (1957)

- The Best Years of Our Lives (1946)
- Casablanca (1942)
- How Green Was My Valley (1941)

February 19th Log

BLUEBEARD
1944, Edgar G Ulmer, United States
1st Viewing, DVD

Edgar G. Ulmer was a filmmaker that claimed to prefer making B Studio films simply because he was free of interference. With limited budget and resources came greater artistic control and the result is some unique and strange yet fascinating and creative work. What Ulmer displays is that limited budget does not exactly equal limited results, as Bluebeard is a film that displays some truly impressive set and costume designs. Above all the film is one of atmosphere and mood as the influence of German Expressionism is very evident in the use of lighting, sets, compositions (of course most notably is the highly expressive flashback sequence at the climax in which Ulmer incorporates a titled camera angle). The film begins with a shot of a river and then a dead body floating in it. Bluebeard becomes full circle before ending with a similar sequence of closing shots. Bluebeard is more a psychological thriller then it is a horror film, but it is mostly the sense of expressionist atmosphere that make it such an effective film. For those who appreciate Ulmer’s work, Bluebeard is a must see.



CINEMA PARADISO
1988, Giuseppe Tornatore, Italy / France
Repeat Viewing, DVD

Continuing with the rewatching of films composed by Ennio Morricone (who will receive an Honorary Oscar later this week) is a film that won the Best Foreign Language Academy Award in 1990: Cinema Paradiso. This is the original theatrical cut (123 minutes) which was later restored to a 173-minute directors cut version. The director cut version definitely clarifies much of the seemingly rushed pieces of the original film but is ultimately overlong. The original 1988 cut may very well be flawed and sentimental but it is undoubtedly a moving film. If you love movies, you will surly love some qualities of Cinema Paradsio. Among other things it shows the beauty of cinema and the joys and emotions of the viewer. It's the story of a director that returns home and reminisces about Alfred, the Cinema Paradiso's projectionist that introduced him to movies, and his first love interest Elna. Cinema Paradiso is a heart-warming, wonderfully shot and scored, caring film that has a magic feeling to it. Really all the flaws and overly sentiment moments are forgotten in the films most beautiful closing scene. A nostalgic yet absolutely touching scene that captures the true power and passion of cinema and its connection to the audience. Manipulative or not, this scene works for me and it really defines the entire film. Cinema Paradiso is an irresistibly charming film for anyone, but particularly those who have an undeniable desire for cinema.

12 MEMORABLE BEST PICTURE WINNERS #8

ORDINARY PEOPLE (1980)

53rd Academy Awards

Nominated With:
Coal Miner’s Daughter
The Elephant Man
Raging Bull
Tess

Directed By:
Robert Redford

Starring:
Donald Sutherland, Mary Tyler Moore, Judd Hirsch, Timothy Hutton, M. Emmet Walsh, Elizabeth McGovern, Dinah Manoff, Fredric Lehne, James Sikking

Synopsis:
Everything is in its proper place in the Jarrett household -- except the past. Mary Tyler Moore won an Oscar nomination for her role as a repressed mother whose favorite son has died, leaving her with another (Timothy Hutton) she can barely tolerate. Robert Redford's first directorial effort netted four Academy Awards, including Best Director, Best Picture, Best Adapted Screenplay and Best Supporting Actor for a young Hutton.

Why this is a great choice:

The Best Picture award for Ordinary People is one that many today view as one of the Academy’s big mistakes, notably for failing to honor Martin Scorsese’s masterpiece Raging Bull. While I agree that my own choice would have been for Raging Bull, yet that still does not deny what a great film Ordinary People is. Here is a film so emotionally powerful and masterfully written that it has held up just as strong over time. Many films have been similarly made, but none of them leave the same emotional impact in the minimal and un-forceful way that this film does. It would have been nice to see Scorsese walk him with the Best Director and this film take the Best Picture and Screenplay award, but either way Ordinary People is a worthy winner.

12 Memorable Best Picture Winners -- previous enteries:

- Annie Hall (1977)

- The Godfather (1972)

- The Apartment (1960)

- The Bridge on the River Kwai (1957)

- The Best Years of Our Lives (1946)

- Casablanca (1942)

- How Green Was My Valley (1941)

12 MEMORABLE BEST PICTURE WINNERS #7

ANNIE HALL (1977)

50th Academy Awards

Nominated With:
The Goodbye Girl
Julia
Star Wars: Episode IV - A New Hope
The Turning Point

Directed By:
Woody Allen

Starring:
Woody Allen, Diane Keaton, Tony Roberts, Carol Kane, Paul Simon, Shelley Duvall, Janet Margolin, Colleen Dewhurst, Christopher Walken, Donald Symington

Synopsis:
Listen closely and you can actually hear the stress hormones pumping through the bodies of the characters in Annie Hall. Woody Allen's real, funny ode to love among twitchy city dwellers scooped up Oscars for Best Picture, Best Direction, Best Actress (Diane Keaton) and Best Screenplay.

Why this is a great choice:
I think if I had to pick a personal favorite of all the Best Pictures winners, Annie Hall would be among the top 3 (along with Casablanca, and The Best Years of Our Lives). One of the rare times the Academy awarded a romantic comedy just so happens to be one of their finest selections ever. While Woody Allen has made many great films over a long-lasting career, Annie Hall stands as perhaps his most original and definitive masterwork.


12 Memorable Best Picture Winners -- previous enteries:
- The Godfather (1972)
- The Apartment (1960)
- The Bridge on the River Kwai (1957)
- The Best Years of Our Lives (1946)
- Casablanca (1942)
- How Green Was My Valley (1941)

February 18th Log

DREAMGIRLS
2006, Bill Condon, United States
1st Viewing, Theater

Dreamgirls succeeds as an extravagant and energetic musical packed with lush period details and elegant style and performances all underneath an epic story. The film “introduces” Jennifer Hudson, who shines (especially when belting out songs), but she is aided by a strong cast of performances (Beyonce Knowles as the beautiful singer that becomes the focal point of the group mostly because of her looks; Eddie Murphy as an R&B star struggling to make a transition into a new era of music; and Jamie Foxx as the controlling producer). Even at 131 minutes the film is packed with enough excitement to keep you fully entertained throughout (perhaps the pace and length is even a bit short as some moments feel rushed along). The musical numbers are very good, but of course Hudson’s "And I'm Telling You I'm Not Going" is packed with passion and is the highlight of the film. Dreamgirls is adapted from a Broadway play by Bill Condon, and he rightfully gives this a very theatrical look and feel. This is really a top-notch Hollywood musical.



THE BICYCLE THIEF
1948, Vittorio De Sica, Italy
Repeat Viewing, DVD

What more can you say about this classic masterwork of Italian cinema, which is often mentioned among the greatest films ever made. Now the film has received a newly restored Criterion Collection DVD release. Without much focus on plot or even dialogue, the film is a touching, wonderfully shot exploration of human emotions, and an incredibly intelligent and realistic relationship of Father and Son. In the aftermath of WW2 previously unemployed Antonio finally finds work that requires a bicycle. When it's stolen on his first day of work, Antonio and his son journey the streets of Rome to find the bicycle; which is his family's only means of survival. It's a brilliant story of not only the Father-Son relationship, but a lesson of the times of unemployment and poverty, specifically the final shot of the son walking with his father, seeing the pain and feeling what the young boy is witnessing. Made very much like that of a silent film, it's a truly simplistic yet deeply powerful and perhaps the pinnacle film of the Realist Era, that has influencedmany great Italian and International films since. This film perfectly captures the imperfections and darkness of humanity. The Bicycle Thief contains some of the most powerful images you'll ever see in a film, and it's sure one of the saddest you'll ever experience. The Bicycle Thief is a film that must be seen, even if only once. This remains an influential and unforgettable landmark film in cinema history.

12 MEMORABLE BEST PICTURE WINNERS #6

THE GODFATHER (1972)

45th Academy Awards

Nominated With:
Cabaret
Deliverance
Sounder
The Emigrants

Directed By:
Francis Ford Coppola

Starring:
Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, Al Lettieri, Sterling Hayden, John Cazale

Synopsis:
Director Francis Ford Coppola brings Mario Puzo's multigenerational crime saga to life in this Oscar-winning epic. When an organized crime family patriarch (Marlon Brando) barely survives an attempt on his life, his son Michael (Al Pacino) convinces his brother Sonny (James Caan) to let him take care of the would-be killers. Amid betrayals and corruption, Michael launches a campaign of bloody revenge that continues through the film's two sequels.

Why this is a great choice:
Often referred to among the greatest films of American cinema, clearly time has been good to The Godfather’s popularity. From the very opening line of dialogue, The Godfather saga becomes a reflection of America through the intimate study of a Mafia family. I don’t quite love The Godfather as much as saying it is the greatest film of all-time, but I can’t really argue the claim and respect the film as a classic of American filmmaking that has become a part of our culture.


12 Memorable Best Picture Winners -- previous enteries:
- The Apartment (1960)
- The Bridge on the River Kwai (1957)
- The Best Years of Our Lives (1946)
- Casablanca (1942)
- How Green Was My Valley (1941)

February 16th Log

THE DEPARTED
2006, Martin Scorsese, United States
Repeat Viewing, DVD

"They want me to find me... Good luck with that" This is a revealing moment of dialogue that comes more then halfway through this thrilling Martin Scorsese gangster film. The line captures one of the films essential themes, which is finding who you are. And perhaps even Scorsese is finding who he is as a filmmaker in the sense that he seems to be returning to the more traditional roots that his fans love so much. Ironically the film is a remake of a Scorsese-influenced Hong Kong action film (2002 Infernal Affairs starring Tony Leung and Andy Lau). With the exception of some cultural differences and location (here the city of Boston) not much has changed, but the Scorsese-connection is in full force as he is remaking a Hong Kong film which is influenced from Scorsese which is ultimately influenced from many previous filmmakers throughout the world. The Departed again evokes Scorsese’s rooted influence in classic gangster Hollywood films (you can’t help thinking of the ending of White Heat during the climax scene with Jack Nicholson). Overall I think Scorsese has topped the original film simply in the overall flow of the narrative, which is far more involving and suspenseful (and a bit more coherent). In a word, it is intense! It's Scorsese so you know he is not going to hold back his own ambivalent views of violence and brutality on screen, and with The Departed he seems even less focused on a sense of morality. Obviously there is lots of blood, montage editing sequences, and a trademark use of Rolling Stones 'Gimme Shelter', which have become Scorsese's trademarks of the genre. Not to go without mentioning here are the incredible performances. I'm not so sure Leonardo DiCaprio worked for Scorsese in Gangs of New York, but with this and their previous collaboration (The Aviator) they prove to be one of the great actors-director duos in film. The rest of the cast is extremely strong as well, highlighted by a memorable performance from Nicholson, who is creepy as ever in the role of mob boss Frank Costello. The film is thrilling from beginning to end, capped off by a fitting final shot (take note of the contents in the grocery bag!!) of a rat walking from right to left of the frame. Even if this isn't in the class of his very best, Scorsese's mastery is always present and The Departed seems to be a film made for his fans. It is a film about finding yourself and perhaps Scorsese can relate as a filmmaker who finds himself returning to the crime thriller films his fans so deeply admire.



EQUINOX FLOWER
1958, Yasujiro Ozu, Japan
Repeat Viewing, DVD

Ozu was never one to quickly change with the technology of art form. His first sound film came in 1936 and he never made a film in Widescreen format. He also did not make a color film until 1958 with this film, Equinox Flower. A late arrival to color, but remarkable none-the-less, as this is a beautiful film. Ozu enhances the expression of the film through color and gives the film his patent simplistic beauty, richness, and poetry. Ozu features his traditional views of family and father-daughter generation differences. Equinox Flower details Japanese rebellious and independent post war youth generation that went against many of the common Japanese traditions (such as arranged marriages). The father doesn't necessarily dislike the man his daughter wants to marry, or even her desire to go against tradition and choose, but he can not accept the fact that she has "defied" her parents. Ozu leaves the film open and sympathizes with both the father and daughters feelings. With a detailed vision of object placement, color, and composition, Ozu perfectly captures the emotional tone with a trademark subtle visual expression and here a blend of lighthearted humor (through the inconsistency and ironies that make up living).

>> More on Equinox Flower @ A2P Cinema's Yasujiro Ozu website HERE

>>> Here is a scene from Yasujiro Ozu's 1958 film Equinox Flower. The scene is reflective of the films themes in transition and change:

12 MEMORABLE BEST PICTURE WINNERS #5

THE APARTMENT (1960)

33rd Academy Awards

Nominated With:
The Alamo
Elmer Gantry
Sons and Lovers
The Sundowners

Directed By:
Billy Wilder

Starring:
Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston, Jack Kruschen, Willard Waterman, David White

Synopsis:
C.C. Baxter (Jack Lemmon) has his future mapped out -- all he needs to do is cozy up to the top feeders in the corporate food chain. But his fast track to the executive suite gets short-circuited when he falls for one of the bosses' girlfriends. The Apartment features top-notch performances from Lemmon and Shirley MacLaine and was nominated for 10 Academy Awards, winning five, including Best Picture.

Why this is a great choice:
Maybe not the beloved classic of some of the great Billy Wilder’s films (such as Double Indemnity, Sunset Blvd, or Some Like It Hot), but to me The Apartment rates in the class of my personal favorite Wilder film (though I admit Double Indemnity and Sunset Blvd would top that list!). Wilder won three Oscars that year (Best Picture; Best Director- his 2nd; and Best Screenplay- his 3rd and final win in that category). The Apartment is sweet and romantic, and of course when Wilder’s writing, it is usually going to be hilarious. He almost always ended the film at its peak moment, often with a punch-line, and few were more unforgettable then this… “shut up and deal.”

12 Memorable Best Picture Winners -- previous enteries:

- The Bridge on the River Kwai (1957)
- The Best Years of Our Lives (1946)

- Casablanca (1942)

- How Green Was My Valley (1941)

February 15th Log

MARIE ANTOINETTE
2006, Sofia Coppola, United States / France / Japan
Repeat Viewing, DVD

This film was released on DVD this week and I had to see it again (now the 4th viewing). To me it is the BEST American film released in 2006. Sofia Coppola’s third film is a masterpiece. A film that captures transcendent feeling through its beautifully expressed images and sounds. Marie Antoinette is the work an artist… or more specifically the work of an auteur! Coppola previous two features left me with mixed feelings, but seeing this again (and again and again) actually gives me a greater understanding of what she was expressing with her previous work. Only here, Coppola evokes the spirit of a visionary. Coppola uses Marie Antoinette almost more as a reflection of her own expression as a dreamlike world of being entrapped into an unfamiliar environment of loneliness, and the longing for a young woman’s freedom and possessions (as well as rebellion). There is so much I love about this film, but above all it creates a feeling through its detailed imagery and sounds. The opening and closing shots a touch of genius as they work as an expressive extension of the film. SEE THIS FILM… TURN IT UP LOUD AND LET THE CINEMATIC EXPERIENCE TAKE YOU AWAY!!!

12 MEMORABLE BEST PICTURE WINNERS #4

THE BRIDGE ON THE RIVER KWAI (1957)

30th Academy Awards

Nominated With:
Peyton Place
Sayonara
12 Angry Men
Witness for the Prosecution

Directed By:
David Lean

Starring:
William Holden, Jack Hawkins, Alec Guinness, Sessue Hayakawa, James Donald, Geoffrey Horne

Synopsis:
Director David Lean's sweeping epic is set in a Japanese World War II prison camp where British POWs are forced to construct a railway bridge as a morale-building exercise. Yet the real battle of wills is between "play by the rules" British colonel Nicholson (Alec Guinness), who is dedicated to the project, and his American rival (William Holden), who vows to destroy it. The POWs' whistling work theme became legendary.

Why this is a great choice:
While fellow nominated 12 Angry Men would have made an equal worthy selection, The Bridge On the River Kwai defiantly remains one of the lasting Best Picture winners. A definitive epic classic of old-fashioned filmmaking, it is as intelligent as it is entertaining. Brilliant acting to go alongside the flawless direction of David Lean. The script is excellent as it both uses and recreates cliches and genre formula. A glorious achievement of “Madness, Madness!”

12 Memorable Best Picture Winners -- previous enteries:

- The Best Years of Our Lives (1946)

- Casablanca (1942)

- How Green Was My Valley (1941)

February 14th Log

MUTUAL APPRECIATION
2006, Andrew Bujalski, United States
1st Viewing, DVD

“I would like to say whatever I want. I mean I would like to talk about real things with you… Reality would be nice to talk about, its just that we never get to that point really.” This is a revealing moment of dialogue in writer-director Andrew Bujalski’s sophomore feature film Mutual Appreciation. It is dialogue tat seems to embody the spirit of Bujalski’s filmmaking and most important the spirit of this film and its characters. Characters who endlessly talk about seemingly meaningful conversation that is ultimately dancing around the root of its intentions (with the only exception coming from the source of truth, which is getting drunk). As in his previous gem (Funny Ha Ha), Bujalski’s features an improvisational and plotless style which through characters and dialogue examines how we express (or do not express) ourselves. There is a pitch-perfect combination of humor and charm, but there is also an awkward and even frustrating feeling as we observe these characters hide or disguise there feelings from one another. There is always something lurking or hanging in the background which creates a mood of suspenseful tension and chemistry with the characters. Also like Bujalski debut Mutual Appreciation evokes a sense of reality yet is also distance and very understanding that it is a film. These characters are both like and very unlike us and this gives the film its charm as well as a timelessness. Bujalski’s again features a cast of what seems to be his close friends (including Funny Ha Ha’s lovely Kate Dollenmayer, who makes a brief but memorable scene-stealing appearance here). The film is full of highlights (of course the Dollenmayer scene is especially wonderful) right up to its abrupt and open-ended conclusion. Mutual Appreciation is a genuinely sweet and awkward romantic comedy from a filmmaker who has emerged as a contemporary John Cassavetes of filmmaking. Funny Ha Ha is a masterpiece, and Bujalski’s has followed it up with an equally brilliant feature. Maybe it is an acquired taste for some, but I love his work and will continually revisit and cherish these films! “Group hug!”



THE QUIET
2006, Jamie Babbit, United States
1st Viewing, DVD

The Quiet is a film that strives to be something it is not: an in-depth psychological character drama. The film is doomed from the opening narration which seem to set the tone for a film that has something meaningful or complex to say. Ultimately the film is full of dismal characters and a phony script disguised as art. I really hate to be cruel, but this film became embarrassingly laughable for the actors who give decent performances. Really Camilla Belle is the reason I wanted to see this as I really believe she has potential to be a great actress. I think she belongs mention among the very best of her generation, but hopefully she’ll be given better scripts to work with then this. Belle seems to be well casted as a deaf mute who parents died and has been adopted into a dysfunctional family. She posses an physical and facial expression that works for the character but this script diminishes any value from the performances. The Quiet intercuts poorly written narration (by Belle) throughout the film, which seems to embody the film artificial insight (as we hear random facts about Beethoven and the progression of his career).


>> Go here for complete list of FILMS OF 2006

12 MEMORABLE BEST PICTURE WINNERS #3

THE BEST YEARS OF OUR LIVES (1946)

19h Academy Awards

Nominated With:
Henry V
It’s a Wonderful Life
The Razor’s Edge
The Yearling

Directed By:
William Wyler

Starring:
Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, Virginia Mayo, Cathy O'Donnell, Hoagy Carmichael, Gladys George, Harold Russell, Roman Bohnen

Synopsis:
Winning seven Academy Awards (including Best Picture), this classic drama follows three World War II veterans as they return to small-town America. Homer (Harold Russell), Al (Fredric March) and Fred (Dana Andrews) are desolate as they try to come to terms with their experiences. Best Supporting Actor Russell, a real veteran who lost his hands in the war, also won an Honorary Oscar "for bringing hope and courage to his fellow veterans."

Why this is a great choice:
1946 marks one of the greatest years in Hollywood film history. There are so many classics as it saw the height of film noir as well as the emerging auteurs of the studio era (Hitchcock, Hawks, Ford, Capra, Welles). Among those auteurs was the great William Wyler and in 1946 he made his masterpiece The Best Years of Our Lives. While the film may not be as memorable today as the beloved classic It’s a Wonderful Life (which was also nominated that year for Best Picture), it remains a masterwork of filmmaking and easily one of the most perfectly made films to ever come out of a Hollywood studio. I love It’s a Wonderful Life, but The Best Years of Our Lives is an equal (if not superior) classic.


12 Memorable Best Picture Winners -- previous enteries:
- Casablanca (1942)
- How Green Was My Valley (1941)

February 13th Log

HALF NELSON
2006, Ryan Fleck, United States
1st Viewing, DVD

Half Nelson is a film that relies on it’s strong sense of charters and performances. As a drug-addicted history teacher, Ryan Gosling continues to prove to be among the brightest actors of his generation as his performances here has quickly established wide acclaim (including an Academy Award nomination). Not to go unnoticed however are the performances by two other key characters of the film: the student who discovers his drug problem and grows a friendship with him (played by newcomer Shareeka Epps), and a local drug dealer (Anthony Mackie) that wants to lead the young girl into his life in the same way he did with her brother who is now in jail. This is the feature debut from Ryan Flick and Anna Boden and it is made with sincerity and passion. The characters are so well developed and incredibly honest without any sense of force or contrived actions. Gosling’s Mr Dunn is especially well developed in a way that you grow an emotional connection with his charming, unpredictable, and flawed humanity. Half Nelson builds in emotional through offering authentic truths in the characters and in their moral and personal struggles. The film ends without the typical conclusion, while certainly leaving hope.



INFAMOUS
2006, Douglas McGrath, United States
1st Viewing, DVD

To be fair, I’d like to avoid comparing Infamous with 2005’s Capote (both films were made around the same time but Infamous delayed it’s release). However, it is almost impossible and sadly inevitable (for either film) that they are doomed for comparisons. Most notably in the lead performance as Truman Capote. Toby Jones is terrific here, but his performance is more an imitation and lacks the depth that Philip Seymour Hoffman brought to his well-deserved Oscar winning performance. The differences of the films really rely on there original sources. Less autobiographical then Bennett Miller’s Capote, Infamous is based off a book by George Plimpton and the focus here seems to be more on the gossipy aspect of Capote’s society life in contrast to that of the Kansas town. Writer-director Douglas McGrath gives the film a light-hearted comedic feel early on before becoming more and more ambitious and message-driven as it builds. This seems determined to have more to offer then 2005's Capote (including Truman's sexuality), but it lacks the atmospheric tone and sense of the process of creation. Infamous losses track with it’s many ideas, but the performances (especially by Daniel Craig, who is especially standout as Perry Smith) and McGrath’s lively pace and humor do make this an enjoyable film to watch.

12 MEMORABLE BEST PICTURE WINNERS #2

CASABLANCA (1942)

16th Academy Awards

Nominated With:
For Whom the Bell Tolls
Heaven Can Wait
The Human Comedy
In Which We Serve
Madame Curie
The More the Merrier
The Ox-Bow Incident
The Song of Bernadette
Watch on the Rhine

Directed By:
Michael Curtiz

Starring:
Humphrey Bogard, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Dooley Wilson

Synopsis:
Of all the "gin joints" in Morocco, Ilsa (Ingrid Bergman), with husband Victor (Paul Henreid) in tow, had to walk into the one owned by Rick (Humphrey Bogart), a former beau she abandoned in Paris. War looms over them all, and in a much-discussed ending, Rick and Ilsa make heroic but heartbreaking choices. As time goes by, director Michael Curtiz's 1942 classic war noir only gets better. Peter Lorre and Claude Rains also star.

Why this is a great choice:
What more can you say about Casablanca that hasn’t been said already except to say that it is worthy of all the praise it receives. Here is a film that never setout to win awards (it began as a B Production studio film). Now today, it’s moments, imagery, dialogue, and music has become apart of American culture. This is without question one of the finest selections the Academy has ever made for Best Picture. An unforgettable film even “as time goes by”…

12 Memorable Best Picture Winners -- previous enteries:
- How Green Was My Valley (1941)

12 MEMORABLE BEST PICTURE WINNERS #1

The Academy Awards are 12 days away. Over the next 12 days I will be celebrating 12 different Best Picture Winners over the entire history of the Oscars.

Of the 78 Best Picture winners in Oscar history, I have seen all but 6 (Cimarron-1931; Cavalcade-1933; The Great Ziegfeld-1936; Around the World in 80 Days-1956; Tom Jones-1963; Oliver-1968). Looking back over the years, I have disagree with many of the Academy’s decisions even for some of the choices I admire.

However, the Academy has also made some great selections for films that have and will stand the test of time. This list will include the 12 Best Picture winners over the 78 years that I think stand out the most. This was difficult to choose 12 without leaving out some great films. Anyway, it’s just a fun little list to prepare for the Oscars in twelve days. I will include one film per day in chronological order starting with the earliest…

HOW GREEN WAS MY VALLEY (1941)

14th Academy Awards

Nominated With:
Blossoms in the Dust
Citizen Kane
Here Comes Mr. Jordan
Hold Back the Dawn
The Little Foxes
The Maltese Falcon
One Foot in Heaven
Sergeant York
Suspicion

Directed By:
John Ford

Starring:
Walter Pidgeon, Maureen O’Hara, Anna Lee, Donald Crisp, Sara Allgood, Roddy McDowall

Synopsis:
Recounted via the memories of the Morgan family's youngest son (Roddy McDowall), How Green Was My Valley chronicles 50 years in the lives of a close-knit clan of Welsh coal miners. As the years pass, the Morgans try to survive unionization, a lengthy strike and a mining accident; meanwhile, their hometown and its venerable traditions slowly disintegrate. John Ford's gentle masterpiece won five Oscars, including Best Picture and Best Director.

Why this is a great choice:
The choice of this film is notorious today as one of the big mistakes by the Academy for not awarding Citizen Kane or Orson Welles. While I can understand those arguments, I still think How Green Was My Valley should not be thought of as an unworthy winner of its own. John Ford would go on to make more personal films, but this features some of his trademark mastery as a visual poet. Citizen Kane was the more groundbreaking film, but How Green Was My Valley stands the test of time as a worthy winner and a magical film.

February 12th Log

AFTER THE WEDDING
2006, Susanne Bier, Denmark / Sweden
1st Viewing, DVD

After the Wedding is directed and co-written by Susanne Bier, who has earned international acclaim for her work and is regarded among the leading filmmakers of contemporary Danish cinema. Unfortunately this film is the first I have seen from her, but I hope to discover more of her films in the future. This film is currently nominated for a Best Foreign Language Film at this years Academy Awards. After the Wedding is a film that reveals more insight and surprise as it develops. We begin to learn more about these characters and there motives and history. The performances are powerful and the filmmaking is shot in a steadily progressing pace that both hampers and helps the film on an emotional level. Bier’s use of extreme close-ups of mouths and eyes seems to be an expression of heightened emotion, but the performances really make the scenes powerful. Essentially After the Wedding is like a soap opera, but it is really well performed by the three leads that you can easily absorb into these characters and their lives. The film is most concerned with examining the character of Jorgen on a moral level. The film becomes a bit heavy-handed towards its conclusion, but it does raise some thought-provoking ideas on the morality of Jorgen’s intention. Overall, an involving portrait of love and family.

>> Go here for FILMS OF 2006 list



THE CIRCUS
1928, Charlie Chaplin, United States
Repeat Viewing, DVD

Charlie Chaplin's The Circus can viewed as his personal farewell to the silent filmmaking era. An era he believed in and loved with all his genius and passion. Chaplin would continue making silent films (even well after the change over to talkies), but they still incorporated a bit of sound in some way (i.e. the hilarious opening sequence of City Lights in which Chaplin mocks sound). The Circus would be Chaplin's final (completely) silent film. Made in between his two most famous films (Gold Rush and City Lights), this may be Chaplin's most forgotten work. However, it's brilliance is undeniable. In fact, I'd rank this as Chaplin's second greatest film (only behind City Lights, which I consider easily one of the very greatest films of all-time). Like City Lights, this film displays Chaplin at his very best. Perfectly combining a touching emotional connection, wonderful romance, consistent laughter, and meaningful poetic visuals. The final sequence is truly incredible, particularly the beauty within the final shot. The Circus is an amazingly artistic and enjoyable statement from a cinema legend. The silent era may have ended in 1928, but it's impact is timeless and will be cherished for eternity.

February 11th Log

ISABELLA
2006, Pang Ho Cheung, Hong Kong
1st Viewing, DVD

Isabella works best as a character film. It starts off a bit incoherent but as we learn and discover more about these characters an intimate bound begins to develop and the emotional story effectively moves along. The film is beautifully shot and composed. Sometimes the visual look gives the film an artificial and stagy feeling, but the strength of the characters and the performances really hold it all together. This is the fifth film from director Pang Ho Cheung. I have not seen any of his work, but Pang has won high acclaim and awards in Hong Kong. Here he captures a feeling and mood, while letting the storytelling and drama develop through the characterization of his leads (a suspended police officer and a young girl he picks up one night and later claims to be his daughter). They are portrayed with top-notch performances by Chapman To and Isabella Leung. Despite a seemingly twisted storyline, Isabella is a sweet and touching film that is quite accessible for a wide rage of audiences. Featuring a stunning musical score and cinematography Isabella is a flawed yet engrossing film in portraying the relationship of its characters as well as a spiritual and cultural reflection of Macao.



WHIRLPOOL
1949, Otto Preminger, United States
Repeat Viewing, DVD

Directed by a master of noir, Otto Preminger, Whirlpool remains an overlooked film of cinema. Perhaps it's the rather strange plot of psycho analyzing and hypnosis. Sure much of this film has some implausibility to it, however, the strength lies in it's characterization and it's visual or emotional mood. That's the true beauty of noir, capturing a mood or atmosphere through imagery and characters. Visually, much of Whirlpool has a unique noir style (glamorous), yet contains dark human psychological complexities of morals, pressure, and marriage. Preminger's direction perfectly works with Ben Hect's wonderful script. And of course, Gene Tierney (one of my all-time favorite actresses) is a presence to behold. Tierney starred in four films for Preminger (3 of which are noirs), and here she combines her sheer glamorous and stunning beauty with an innocence, confusion, haunting, and hypnotic sense of the character. Preminger is a versatile filmmaker who masters noir. He doesn't make conventional noir films, but defined the style or genre with a rare, and ambitious vision, and for that is ultimately a quintessential noir filmmaker. Because of it's obscurities or improbabilities, Whirlpool will never be mentioned among Preminger's masterpieces, but it remains one of my personal favorites. "Nice to have a wife come home to you."

February 10th Log

BODY HEAT
1981, Lawrence Kasdan, United States
1st Viewing, DVD

Body Heat is a sexy and definitively modern neo-noir in cinematic style and substance. It is a film that is made as a self-conscious reflection of the classic noirs from the 1940s but is made with a modern setting and vision. The opening shot sets the atmosphere and tone for what is a sexually charged film. Through stylish visuals and techniques (including an outstanding musical score, as well as a heavy use of various fans and human body sweat) Lawrence Kasdan establishes a mood that is hot and tense. This is Kasdan’s directorial debut and he also wrote the screenplay. Generally a strong writer, here Kasdan proves himself more stylish and even poetic aspect of filmmaker he has not since matched as a director. There is no doubt that Body Heat is channeling James Cain novels (most obviously Double Indemnity), and it relies heavily on its source influences. Perhaps not original, the film remains effective and a joy to watch on the level that it recreates the 40s noir in a modern world (including the color cinematography). Body Heat features strong performances by William Hurt and heartless femme fatale Kathleen Turner. Both performances reinvent those made memorable by Fred MacMurray and Barbara Stanwyck in Double Indemnity. Body Heat is an inferior film to those that influenced it, yet it stands as a great neo-noir of American cinema.



THE GOOD, THE BAD, AND THE UGLY
1966, Sergio Leone, Italy / Spain
Repeat Viewing, DVD

Sergio Leone's western epic The Good The Bad and The Ugly is a joy to experience. It's a film that leaves a smile on my face throughout it's entire 160+ minutes. The film is a celebration of films and filmmaking. From the very opening sequence, the film absorbs the viewer into it's cinematic world of style, excitement, humor, artistic vision, and pure entertainment! There is very little dialogue (it's dialogue-free throughout the first 10 minutes), yet always is engaging. Leone's trademark style is always evident (irony, extreme close- ups, large atmosphere, freeze frames, quick cuts combined with long takes, flawlessly composed long shots, etc). Ultimately, The Good The Bad and The Ugly is a film of human nature and greed. Leone skillfully uses the AmericanCivil War as a backdrop for the films narrative. The legendary composer Ennio Moricone's musical score has spawned countless homages and imitations, and is absolutely classic. Watching The Good The Bad and The Ugly is a refreshing experience that never gets old. Every scene is brilliant, but it's clever and unmatchable climax truly transcends this film as one of the all-time greatest. It's perfection! Leone is one of cinema's truly great filmmakers. His epic vision, irony, and style captures the true beauty and emotions of cinema.

February 9th Log

PAN’S LABYRINTH
2006, Guillermo del Toro, Mexico / Spain
1st Viewing, Theater

Directed by Mexican cult horror filmmaker Guillermo del Toro, Pan’s Labyrinth is a childhood fantasy made for adults. It’s brutal and violent depiction of the aftermath of the Spanish civil war terrifyingly sets the backdrop of what it is fantasy full of imagination and wonder. Del Toro flawlessly blends reality and dreams, and we quickly discover that the nightmare of the story comes from the real world. Here the fantasy is developed as a means to escape the cruel reality of the world, but Pan’s Labyrinth is not a typical film of childhood innocence and ultimately the world of fantasy and reality converge in a haunting finale that is exquisitely executed by Del Toro. Pan’s Labyrinth expresses a haunting portrait of a child’s terror in a way that few films do. Ofelia (played by Ivana Baquero) handles both worlds and their villains, but as the troubles of the real world escalate and eventually converge with her imaginary creation, Ofelia must choose a decision that could impact either world. Pan’s Labyrinth is a film of terrifying cruelty, repression, and horror, yet is a film that speaks for the love of humanity. Del Toro creates a visionary film of wonder and imagination contrasted by brutality and violence while ultimately capturing the strength of human spirit and sacrifice. What is most effective is that Del Toro offers this through a film that completely original and deeply rooted with personal expression. This is a film I want to see again, but my initial thoughts are that Pan’s Labyrinth is a near masterpiece of filmmaking.



DEATH RIDES A HORSE
1969, Giulio Petroni, Italy
Repeat Viewing, DVD

For fans of 'spaghetti westerns' Death Rides A Horse (a classic title by the way!) is a must see. In ways it the definitive film of the genre's themes and style. And of course it stars Lee Van Cleef who is unquestionably the definitive spaghetti westerns actor. Here Van Cleef plays a criminal (Ryan) who is after a gang of robbers that owe him money. Also seeking this gang is Bill, who is out for revenge on the murders of his family, which he witnessed 15 years prior as a child. Bill and Ryan join forces and so is this film of inescapable revenge and death. The concept is simple, and recalls Sergio Leone's masterpiece Once Upon a Time In the West. However, Death Rides A Horse still has elements that stand own it's own as a quintessential genre film, including Van Cleef's memorable performance and the great Ennio Morricone's score. Perhaps not the mastery of Leone's greatest achievements, but Death Rides a Horse recalls much of the excitement, cleverness, style and fun that make the best spaghetti westerns so enjoyable.



LATE AUTUMN
1960, Yasujiro Ozu, Japan
Repeat Viewing, DVD

In Late Autumn Ozu shifts his most common relationship (father-daughter) into a relationship of a widowed woman (brilliantly played by Setsuko Hara) who is looking to remarry, and her daughter whom is offended that her mother would want to remarry. The mother is also pushing marriage onto her daughter (as do her best friend and three middle-age men who all wanted to marry her mother), yet she insists she is fine without a husband. Late Autumn certainly recalls Ozu's definitive 1949 masterpiece Late Spring, yet it is a bit more of a gentle, lighthearted comedy that still plays on many of Ozu's traditional themes and complex emotions. Ozu's use of composition acts as another character in the film and captures most of the expression and emotions of the film (most notably in the masterful use of color). Ultimately with Late Autumn Ozu captures the essence of life's simplicity and humans tendency to complicate it. At the core of all of Ozu's postwar films is the unavoidable sadness of life caused by change. The ending captures this in a perfectly bittersweet way as we see Akiko alone. She is sad that her daughter has left, yet is smiling as she accepts this sadness and is happy for her daughter. But again we wonder if they've conformed their simple life of happiness to fulfill the 'obligations' of life. Simple, humorous, warm, and deeply touching, Late Autumn is another masterpiece from one of cinema's true masters of filmmaking.

>> More on Late Autumn @ A2P Cinema's Yasujiro Ozu website HERE

>>> Here is a scene from Yasujiro Ozu's 1960 film Late Autumn. This is the final scene of the film. It is masterfully composed by Ozu in a trademark style, which perfectly expresses a sad but accepting detail of life's continuous cycle:

February 8th Log

GOING MY WAY
1944, Leo McCarey, United States
1st Viewing, DVD

Though probably more remembered today in The Bells of St Marry, Bing Crosby first sang and dance as the priest Father O'Malley in Going My Way, a film that in it’s release year of 1944 won seven Academy Awards (including Crosby’s only win for Best Actor). The Bells of St Mary probably holds up over time as the stronger film. Mostly because of the effortless direction of Leo McCarey and also the strong presence of Crosby alongside Ingrid Bergman. Going My Way seems less a McCarey film then it does a vehicle for Crosby. It’s full of sentiment and more forceful then McCarey’s finest work. McCarey is one of the truly underrated filmmakers of studio Hollywood, but Going My Way is not the finest example of his work. However, Going My Way finds its charm in the chemistry of the performances (Crosby, Barry Fitzgerald, Frank McHugh, James Brown, Gene Lockhart). I’d recommend The Bell’s of St. Mary’s over this film, especially for those interested in McCarey, but some nice performances and good songs do give this film some appealing qualities.



FLIGHTPLAN
2005, Robert Schwentke, United States
1st Viewing, Encore

Flightplan is a thriller that can be effective if taken as it is. The film tricks or perhaps even cheats the audience in a way that can be involving as easily as it is frustrating. There is a fine line between succeeding and failing with this type of genre work and while filmmaker Robert Schwentke never reaches the level of Alfred Hitchcock, he does at least make a film that is watchable from beginning to end. There is plenty of ridiculousness here, but I’m curious to see how the film holds up on a repeat viewing. The idea behind the film makes for a thrilling setup, as it takes Hitchcock’s Lady Vanishes and puts it on a plane (replacing the old lady with a young child and throwing in some post-9/11 social ideas). While not of the mastery rhythm and editing of Hitchcock’s’ 1938 thriller, Flightplan’s greatest strength is in the overall pacing of the film, which does keep the viewer involved. There are some techniques (slow-motion) and moments (the overdone redemption of the epilogue) that could have been toned down, but you get the feeling Schwentke knows how to work within the conventions of the genre. Really the film falters just before it’s “revealing” twists, simply because it becomes predictable and unsure of itself. The audience becomes a step ahead of the film, and what results is a clichéd thriller with little suspense or imagination.

February 7th Log

THE SCIENCE OF SLEEP
2006, Michel Gondry, France / Italy
Repeat Viewing, DVD

The Science of Sleep is such a bizarre film that some audiences may be easily turned off. Others might be disappointed that it's not on the masterpiece level of Michel Gondry's previous feature Eternal Sunshine of the Spotless Mind. However, to me the film is a wondrous joy of endless imagination and romantic fantasy. This is Gondry's first film as the sole writer-director (his previous collaborations were with acclaim screenwriter Charlie Kaufman). I found this film so charming and full of imagination that it won me every way step of the way. The two leads are absolutely outstanding and when on screen together the films sparkles with appeal. There has never been a question that Gael Garcia Bernal is a brilliant actor, but Charlotte Gainsbourg is a revelation here. Gainsbourg radiates energy and charm as Stephanie, Bernal's neighbor and love interest. The film is magical in its portrayal of dreams and reality, as well as the combination of the two. Narrative speaking The Science of Sleep is fairly simple but Gondry (expanding on a basic premise from one of his own early short films) gives it such an appealing and extravagantly mind-blowing touch that is (like dreams and perhaps even reality) equally messy and charming. Gondry's influence roots stem from the French poetic fantasy realism of the 1930s, and ultimately The Science of Sleep is a romantic fantasy about innocence, longing, imagination, as well as an inner struggle with life and love. The film is certainly surreal, but with a tone of light-heartedness. At once, bizarre, beautiful, funny, and romantic The Science of the Sleep is a lovely film with loveable performances from Bernal and Gainsbourg. The joys and wondrous imagination grew even stronger with repeat viewings, such as these two souls (fittingly names Stephane and Stephanie) share what Bernal's character calls them "Parallel Synchronized Randomness". I really can't overstate how lovely these lead performances are. Bernal continually proves to be one of the most interesting actors of modern cinema, and Gainsbourg is an absolute charmer. It is not so much the romantic chemistry amongst the two, because there really isn't much of a romantic connection. It is more a chemistry of two people's chaotic mix of emotions and sensitivities that make relationships so complicated and complex. Through Gondry's vision the film captures this beautifully with a sense of innocence, longing, and doubt, as well as hope and letdown. Anyone who has seen Gondry's music videos from Bjork knows his imaginative vision, but this film (without Bjork or Kaufman) proves him to be a unique talent.



HOLLYWOODLAND
2006, Allen Coulter, United States
Repeat Viewing, DVD

Hollywoodland is a finely crafted film which depicts the mysterious death of George Reeves, the actor who played the original Superman on television. Through flashbacks and non-linear narrative the film details various possibilities, and theories of the suicide death (among them is the possibility of murder). The films strength is in it's cinematic achievement. Featuring a talented cast (lead by the perfectly casted Adrian Brody as the investigating detective, the always under-appreciated Ben Affleck as Reeves, Diane Lane as the obsessive femme fatale, and a particularly exceptional performance by Bon Hoskins as MGM executive Eddie Mannix). The period details and wonderful sense of atmosphere and location (obviously!) give this the look and feel of a neo-noir. Thoughts of Chinatown certainly come to mind especially at the moment Brody continues his investigation with a bloody face. One of the films other greatest asset is the depth of the character development as well as the always enjoyable Hollywood references and chatter. Also a great use of noir-style dialogue (tough and sexy). There is a mysteriousness and complexity to these characters and the film as a whole that make this such an intriguing film, and one that will hold up on repeat viewings. This is the directorial debut of Television veteran Allen Coulter and together with his cast and crew he has collaborated on an excellent film.

February 6th Log

FLAGS OF OUR FATHERS
2006, Clint Eastwood, United States
1st Viewing, DVD

Flags of Our Fathers is a film with strong and ambitious intentions. While the filmmaking is again exceptional from Clint Eastwood, there seems to be something lacking in the overall result of this film. I think it lacks some of the sense of mood that Eastwood generally establishes. Even for it’s intelligent and meaningful intentions, Flags of Our Fathers feels dull or without a heartbeat. Eastwood is a great director, but I think he is at his best in the smaller scaled films of emotional doom. He does try to take the epic scale of this World War II film into a more intimate and psychological, but the result is far less inspiring then his greatest work. Eastwood’s technical filmmaking craftsmanship is evident but he is always at the disposal of his scripts and I think that is where some of the problem develops here. Paul Haggis, who co-wrote the screenplay, gives the film a Crash-like treatment in its liberal guilt and most specifically in its lack of simplicity. The film has a valuable historic insight, yet the themes of heroism and the John Ford-esque theory of “when the legend becomes fact, print the legend” is forced upon the audience at every turn. Flags of Our Fathers is far from a bad film, because of Eastwood’s skillful direction and because of the effective staging of the battle sequences.

February 5th Log

REPAST
1951, Mikio Naruse, Japan
Repeat Viewing, DVD

“I am moved by the sadness to be found in the simple lives of people in the limitless space of the universe.” Mikio Naruse's Repast is adapted from a novel by Fumiko Hayashi (the film opens with this powerful quote from the author). Hayashi was Naruse’s favorite author and her female perspective seamlessly integrated with Naruse’s woman psychological point of view. Repast is another shomin-geki (working class) family drama of a troubled marriage. Here we find a woman (Michiyo) who is stuck with a man that is uninterested in sharing a life with her outside of her daily house chores (cooking and cleaning). Played by the incomparable Setsuko Hara, Michiyo is on the verge of exploding at the sight of her husbands (played by Ken Uehara) flirtatious actions when his younger niece arrives. She longs for happiness, and to return to her home in Tokyo with her mother and siblings. However, when she returns, she discovers a postwar city now in destruction and sadness. Ultimately Michiyo decides that perhaps she is best to return to her husband (and of course her beloved cat). Hara’s performance is absolutely astonishing in the way she conveys complex feelings through subtle movements and gestures. Always a beautiful and elegant screen presence, Hara typifies the psychological state of her characters hidden sadness through an exterior smile and laughter. Yet she is complicated and imperfect herself, as Naruse presents these characters not as a heroine or villain, but as deeply human. Naruse builds a mood through these buried emotions and complexities of the characters. As with all his films, Naruse captures a pitch perfect tone in which he flawlessly controls the emotional reality of the characters and storytelling. In the end, Michiyo returns to her husband even if there is no hope for a future she longs for. Is this an acceptance of suffering? Perhaps, but I think Naruse expresses it more in a way of understanding the way things are rather the accepting. By that I mean an understanding of human behavior and an understanding of the moment. This is neither sadness or happiness, but rather just the moment. Repast is another emotionally complex masterwork from one of the most authentic filmmakers in defining the essence of human emotion and behavior.

February 3rd Log

WAIST DEEP
2006, Vondie Curtis Hall, United States
1st Viewing, DVD

Waist Deep is a film flawed by a messy script that is full of contradictions, and cliches. However, keeping the film from disaster is an effective setting of mood and place. Director Vondie Curtis Hall effectively establishes the gangster violence amongst a neighbor that is fighting against it with anti-violence protests. When establishing this contrast the film is at it's best, but all gets lost over the final act which becomes a ridiculous action-filled car chase, capped off by a seemingly forced epilogue on a tropical beach. Hall does use throwback of genre and of visual style (including the use of urban noir techniques) and it is aided by decent performances. Meagan Good is always a beautiful screen presence and here she seductively captures a goodhearted femme fatale. Waist Deep is a watchable film because of the mood it establishes. There are one too many music video montage scenes and certainly some absurd contrivances with the script, but overall this is not that bad of a film.

>>> See all the Films of 2006 HERE



ROLL BOUNCE
2005, Malcolm D Lee, United States
Repeat Viewing, DVD

After watching Waist Deep, I wanted to see more of Meagan Good so I re-watched her supporting performance in Malcolm D Lee’s charming 2005 film Roll Bounce. Roll Bounce is the third film from Spike Lee's cousin. I really enjoyed his previous two films (The Best Man and Undercover Brother) and he once again won me over here. While Roll Bounce is not quite as creative or well made as Lee's previous films, the overall pleasant and nostalgic feeling makes it a wonderful comedy. There are flaws and the material of the story is not exactly original, yet the film still has a fresh and exciting feeling to it. It's a very likable film with very likable characters and the young cast proves to be quite talented (including Bow Wow, Khleo Thomas, Rick Gonzalez and the lovely young stars from Eve's Bayou- Jurnee Smollett and of course the gorgeous Meagan Good). The more the film progresses, the more you like these characters and that is because of strong writing, compassionate direction, and well-rounded ensemble performances. Roll Bounce is a good time. There is some real, genuine charm to go along with the excitement and humor…. and also, Meagan Good is beautiful!



FOR A FEW DOLLARS MORE
1965, Sergio Leone, Italy / Spain / Mexico / Monaco
Repeat Viewing, DVD

Ennio Morricone, one of the greatest composer is film history, will be receiving a honorary Lifetime Achievement Oscar. This is a well deserved award and selection by the Academy. This month, I plan of re-watching some of Morricone’s most memorable work in film. Of course among that is the film I started with: Sergio Leone’s classic “spaghetti western” For a Few Dollars More. Morricone was the perfect fit for Leone’s filmmaking and his music help define the essence of their work. For a Few Dollars More is the second film of Leone's (loose) trilogy ("The Dollars Trilogy" or "The Man With No Name Trilogy"), which impacted the western genre forever. Leone truly was a master filmmaker, and his influence in cinema is landmark. Few a Few Dollars More features all Leone's brilliant skills: stylistic techniques, atmosphere, landscapes, irony, extreme close-ups, flashbacks, and of course alot of excitement. Of the three films, this may be the most violent and most character driven. As usual, the 'Man with No Name' (one of cinema's all-time memorable characters) remains mysterious, but we see a fascinating examination or those mysterious. Clint Eastwood is wonderful and gives perhaps his finest performance of the three films. But it's the performance of Lee Van Cleef that's most notable. Van Cleef follows up his brilliant performance here, as "The Bad" in the final film of the trilogy. He would then forever be known among cinema's all-time greatest villains. For A Few Dollars More is an unforgettable masterpiece from one of cinema's greatest innovators.



TALK TO HER
2002, Pedro Almodovar, Spain
Repeat Viewing, DVD

Talk To Her's greatness lies in filmmaker Pedro Almodovar's brilliance in creativity, storytelling, colorful characters, and wonderful originality. It's an emotionally moving and touching film, also full of heart and humor. The perfect use of flashbacks set the tone, and highlight some of the film's finest scenes. Almodovar's cinematic style and symbolic creativity also brings out the films memorable moments (dream & dance sequences; and of course the hilarious silent-film which almost had me in tears with laughter). To me, the strength of Talk To Her doesn't lie in its ability to make you forgive the characters and their actions, but rather in Almodovar's humanity for people most would consider disgraceful. Also, the film raises some thought-provoking questions: Does the sound of a caring human voice benefit someone who is brain-dead? If we talk to our pets, or plants, why not someone in a coma? There are so many elements and themes to this film, from loneliness to sexuality, but I think it's ultimately about how a man learns to communicate with a women: by getting inside her. This is a wonderful film, that I must be see several times, as the first viewing is more about emotional impact. There still much more about the characters you'll want to see and learn!