299: Priscilla, Queen of the Desert
Tuesday 16 November 2010
COMING SOON
In a change to the recent schedule I have not yet watched or reviewed The Killing Fields. Instead I have opted to watch Goodbye Lenin! (the review can be found below). The next review, which will be up in the next few days is:
Friday 12 November 2010
298: Goodbye Lenin!
The destruction of the Berlin Wall and the reunification of Germany is often seen for cause for celebration. It has recently just been the 20th anniversary of the moment the Wall fell and to celebrate we saw Bono parading on the border of East and West Berlin commemorating what is seen by most of the world to be a joyous occasion. It is this celebratory discourse that surrounds the falling of the Berlin Wall that makes it so surprising to watch a film with undertones of loss and sadness regarding this event.
Goodbye Lenin! details the events shortly before, during and after the Berlin Wall is toppled and how this affects one East German family and their neighbourhood. The central family of the piece is the main source for drama and tragedy in the film as all of them have wildly varying opinions on the Socialist rule of Eastern Berlin. As one character falls into a coma before the Berlin Wall falls and the reunification of Germany only to wake up in 1990 in such a frail condition that this news could cause them to fall once again into a coma.
Goodbye Lenin! deals with so many contemporary issues and is influenced by so many genres that it is hard to know where to begin. Goodbye Lenin! is part euthanasia drama, part slapstick comedy, part family observation, a sprinkling of East/West awkwardness with a big Red Socialist Cherry on top. The film is catergorised as a tragicomedy but in many ways it feels like so much more than that simply due to the sheer scope of the issues it deals with. There are moments of real comedy in Goodbye Lenin! but this is comedy with a comment, the film is in the same vein as Juno or Little Miss Sunshine which are comedies, that comment on teenage pregnancy or the sexualisation of 8 year olds.
The film benefits from it's wickedly written script, the variety of characters and the opinions they all have make Goodbye Lenin! very sharp and very engaging. The central family unit remains at the heart of the film whilst incorporating mad and bizzarre characters that can be found in any society, not just the newly formed Germany. At no point does the film drag with a "worthy" message or get bogged down in the heavy issues. This is a very concise, well edited film that ensures you walk away thinking of quirky little scenes about the difference between pickle brands or moments of tragedy, rather than the long winded, depressing film Goodbye Lenin! could very easily have become.
As a comedy Goodbye Lenin! is bright and original, as a drama it is poignant and thought provoking. Even with the important issues that surround the film and the slightly long viewing time for a comedy, Goodbye Lenin! is a breeze for anyone to watch and when considering everything this film incorporates and the fact that it is in German with subtitles, this makes Goodbye Lenin! a triumph.
Goodbye Lenin! details the events shortly before, during and after the Berlin Wall is toppled and how this affects one East German family and their neighbourhood. The central family of the piece is the main source for drama and tragedy in the film as all of them have wildly varying opinions on the Socialist rule of Eastern Berlin. As one character falls into a coma before the Berlin Wall falls and the reunification of Germany only to wake up in 1990 in such a frail condition that this news could cause them to fall once again into a coma.
Goodbye Lenin! deals with so many contemporary issues and is influenced by so many genres that it is hard to know where to begin. Goodbye Lenin! is part euthanasia drama, part slapstick comedy, part family observation, a sprinkling of East/West awkwardness with a big Red Socialist Cherry on top. The film is catergorised as a tragicomedy but in many ways it feels like so much more than that simply due to the sheer scope of the issues it deals with. There are moments of real comedy in Goodbye Lenin! but this is comedy with a comment, the film is in the same vein as Juno or Little Miss Sunshine which are comedies, that comment on teenage pregnancy or the sexualisation of 8 year olds.
The film benefits from it's wickedly written script, the variety of characters and the opinions they all have make Goodbye Lenin! very sharp and very engaging. The central family unit remains at the heart of the film whilst incorporating mad and bizzarre characters that can be found in any society, not just the newly formed Germany. At no point does the film drag with a "worthy" message or get bogged down in the heavy issues. This is a very concise, well edited film that ensures you walk away thinking of quirky little scenes about the difference between pickle brands or moments of tragedy, rather than the long winded, depressing film Goodbye Lenin! could very easily have become.
As a comedy Goodbye Lenin! is bright and original, as a drama it is poignant and thought provoking. Even with the important issues that surround the film and the slightly long viewing time for a comedy, Goodbye Lenin! is a breeze for anyone to watch and when considering everything this film incorporates and the fact that it is in German with subtitles, this makes Goodbye Lenin! a triumph.
Thursday 11 November 2010
297: Belle de Jour
Belle de Jour comes with a reputation of sexual liberation, female empowerment combined with undertones of masochism and bondage. At the centre of Belle de Jour is Catherine Deneuve's Séverine, the "Belle" of the title. Séverine is married to a successful doctor but she cannot be physically intimate with him, though at the same time she has incredibly graphic fantasies where her husband, friends or men from the street flog her, bind her and fight for her. To relieve some of this sexual tension Séverine starts work in a brothel and is introduced to new and interesting forms of sexuality.
When reading the synopsis for Belle de Jour it appears as though it is either a very sexy and witty film or a very hard hitting, gritty tale of prostitutes and creeps but what actually results is a film nestled in between these two thoughts. Though many of the situations Séverine finds herself in are either humourous or dangerous, Catherine Deneuve maintains an ice cold composure throughout the film, whether happy, sad, imperrilled or in climax. It becomes hard to generate any feeling towards Séverine at all, she isn't forced into prostitution like her associates also her husband cares for her and wishes for their relationship to be more physical. The turmoil that eventually surrounds Séverine is completely self inflicted, though Séverine is unaware and as such the film leaves a slightly bitter taste in the mouth
This isn't to say that there aren't moments that do shine in Belle de Jour, the majority of the drama centres around the brothel run by Madame Anaïs, and in the brothel the films most interesting moments arise. A discussion regarding the difference in pay at a regular job and working at the brothel springs to mind. The comraderie amongst the ladies of the brothel is evident, they are simply work colleagues spending time with each other outside work, lending clothes and meeting families. The brothel isn't portrayed as a dangerous or harmful place, the women appear to enjoy their work, but just as Séverine isn't happy at home, she isn't at work either.The variety of clients that frequent the brothel provide both humour and disconcertion. The clientele are an array of losers, criminals or fantasists like Séverine herself, all wanting a particular type of attention whether it's 3-in-a-bed romps or masochistic humiliation. Pierre Clémenti shines as the creep of all creeps, Gold toothed obsessive Marcel, Séverine's love interest (if you could call it that) whose violent tendencies are always close to the surface.
There are most certainly moments where Belle de Jour is the funny, witty and erotic film it wants to be, it is a shame therefore that these moments hardly feature Deneuve at all. When Deneuve is on screen, all eroticism seems to depart and the film is left cold, which is a shame. As the credits roll the experience of the film feels empty and (I would imagine) similar to the feeling following a visit to a brothel, unfulfilling.
When reading the synopsis for Belle de Jour it appears as though it is either a very sexy and witty film or a very hard hitting, gritty tale of prostitutes and creeps but what actually results is a film nestled in between these two thoughts. Though many of the situations Séverine finds herself in are either humourous or dangerous, Catherine Deneuve maintains an ice cold composure throughout the film, whether happy, sad, imperrilled or in climax. It becomes hard to generate any feeling towards Séverine at all, she isn't forced into prostitution like her associates also her husband cares for her and wishes for their relationship to be more physical. The turmoil that eventually surrounds Séverine is completely self inflicted, though Séverine is unaware and as such the film leaves a slightly bitter taste in the mouth
This isn't to say that there aren't moments that do shine in Belle de Jour, the majority of the drama centres around the brothel run by Madame Anaïs, and in the brothel the films most interesting moments arise. A discussion regarding the difference in pay at a regular job and working at the brothel springs to mind. The comraderie amongst the ladies of the brothel is evident, they are simply work colleagues spending time with each other outside work, lending clothes and meeting families. The brothel isn't portrayed as a dangerous or harmful place, the women appear to enjoy their work, but just as Séverine isn't happy at home, she isn't at work either.The variety of clients that frequent the brothel provide both humour and disconcertion. The clientele are an array of losers, criminals or fantasists like Séverine herself, all wanting a particular type of attention whether it's 3-in-a-bed romps or masochistic humiliation. Pierre Clémenti shines as the creep of all creeps, Gold toothed obsessive Marcel, Séverine's love interest (if you could call it that) whose violent tendencies are always close to the surface.
There are most certainly moments where Belle de Jour is the funny, witty and erotic film it wants to be, it is a shame therefore that these moments hardly feature Deneuve at all. When Deneuve is on screen, all eroticism seems to depart and the film is left cold, which is a shame. As the credits roll the experience of the film feels empty and (I would imagine) similar to the feeling following a visit to a brothel, unfulfilling.
Tuesday 9 November 2010
296: Rosemary's Baby
Strangely, for a Horror film, Rosemary's Baby offers very few shocks, there are no jump- from-your-seat style moments, instead Rosemary's Baby simply unsettles you to a point where you may rather just get up your seat and stop watching. Based on the novel by Ira Levin, Rosemary's Baby concerns the story of a couple who move to a new apartment with a chequered past. It follows Rosemary's (Mia Farrow) descent into hysteria and paranoia as her pregnancy continues and the actions of her husband and her neighbours are increasingly suspicious.
As the film follows Rosemary and her husband, Guy, from moving day through her pregnancy the pressure in Rosemary's Baby mounts as Rosemary creeps closer to her due date, every character, no matter how old, friendly or supportive becomes suspicious. The horror in Rosemary's Baby comes from this potent concoction of suspicion and paranoia on the part of the viewer, just as Rosemary begins to see everything as suspicious so does the viewer. The idea that nobody is trustworthy, especially those closest to you, emotionally or geographically, is one that will haunt you long after the credits have rolled. It may take some time before you go next door for one of those “parties” they like to hold.
Mia Farrows' portrayal of a young woman in a desperate situation is harrowing and the images of her as sleep deprived and gaunt in the first few months of her pregnancy are shocking. Rosemary's transformation is signalled by a beautiful, fashionable Vidal Sassoon haircut that is universally condemned by the entire supporting cast. It is the supporting cast that really shine in Rosemary's Baby, whether it's John Cassavetes' Guy, Rosemary's uncaring, ignorant husband or Ruth Gordon and Sidney Blackmer as the worlds’ most terrifying neighbours, it is these smaller roles that make Rosemary's Baby terrifying and memorable.
As the entire film appears to build up to one big reveal, the Baby of the title, it becomes even more disturbing when the Baby is never actually shown on camera. Polanski shows the audience the Devil in one of the earliest scenes but the child is apparently too horrific to be filmed. This a perfect example of how effective the film is at unsettling it's viewers, everything is left to the imagination, nothing is certain. We're never sure if everything Rosemary thinks is true or whether she is being hysterical and irrational. The audience is aware that something is wrong but they are never sure what it is, some actions are seen as suspicious but may be entirely innocent and on the other hand innocent actions can become violent making every character sinister in their own way.
Due to the film's reputation, a new viewer approaching Rosemary's Baby may see everything as suspicious, possibly more so than when it was initially released, this puts a greater emphasis on the viewer's interpretation of the actions seen. The combination of suggestion and an ever increasing forboding feeling make the effect of Rosemary's Baby's a lasting one.
As the film follows Rosemary and her husband, Guy, from moving day through her pregnancy the pressure in Rosemary's Baby mounts as Rosemary creeps closer to her due date, every character, no matter how old, friendly or supportive becomes suspicious. The horror in Rosemary's Baby comes from this potent concoction of suspicion and paranoia on the part of the viewer, just as Rosemary begins to see everything as suspicious so does the viewer. The idea that nobody is trustworthy, especially those closest to you, emotionally or geographically, is one that will haunt you long after the credits have rolled. It may take some time before you go next door for one of those “parties” they like to hold.
Mia Farrows' portrayal of a young woman in a desperate situation is harrowing and the images of her as sleep deprived and gaunt in the first few months of her pregnancy are shocking. Rosemary's transformation is signalled by a beautiful, fashionable Vidal Sassoon haircut that is universally condemned by the entire supporting cast. It is the supporting cast that really shine in Rosemary's Baby, whether it's John Cassavetes' Guy, Rosemary's uncaring, ignorant husband or Ruth Gordon and Sidney Blackmer as the worlds’ most terrifying neighbours, it is these smaller roles that make Rosemary's Baby terrifying and memorable.
As the entire film appears to build up to one big reveal, the Baby of the title, it becomes even more disturbing when the Baby is never actually shown on camera. Polanski shows the audience the Devil in one of the earliest scenes but the child is apparently too horrific to be filmed. This a perfect example of how effective the film is at unsettling it's viewers, everything is left to the imagination, nothing is certain. We're never sure if everything Rosemary thinks is true or whether she is being hysterical and irrational. The audience is aware that something is wrong but they are never sure what it is, some actions are seen as suspicious but may be entirely innocent and on the other hand innocent actions can become violent making every character sinister in their own way.
Due to the film's reputation, a new viewer approaching Rosemary's Baby may see everything as suspicious, possibly more so than when it was initially released, this puts a greater emphasis on the viewer's interpretation of the actions seen. The combination of suggestion and an ever increasing forboding feeling make the effect of Rosemary's Baby's a lasting one.
Monday 8 November 2010
295: The Diving Bell And The Butterfly
E. S. A. R. I. N. Six letters that begin a specialist alphabet which is both a symbol of hope and entrapment for the central figure of The Diving Bell And The Butterfly, ex-editor of Elle Magazine, Jean Dominique Bauby. Through the use of this alphabet, Bauby paralysed entirely apart from one eyelid, learns to communicate by spelling every word he wants to say through a series of blinks, eventually writing a book using this method. The viewers of the film are privy to all of Bauby's thoughts, dreams and memories which show him to be a witty and spirited individual confined by his own body and forced to communicate through this enduring process.
The film culminates with Bauby finishing his book, "The Diving Bell and the Butterfly" of the title. The Diving Bell, is alluded to throughout the film, is Bauby's own metaphor for his body encased in a suit surrounded by water where escape and movement is impossible. The Butterfly appears to be both the woman transcribing Bauby's book for him and Bauby's own desire to break free of a Chrysalis and fly away.
Hearing and seeing everything Bauby hears, sees and thinks draws the viewer in whilst giving a sense of how it may feel to be in such a condition, the terror of new doctors and their patronising tone is conveyed brilliantly and resonates long after the film has finished. One example, where a new doctor opts to use the familiar version of Bauby's name, Jean Do without asking is infuriating. The frustration felt by Bauby is found in his interior monologue which screams for certain small things like being able to watch a football match.
Gorgeous flashbacks to Bauby's life before he was paralysed bring a sense of what he was to those around him, the juxtaposition of him as a father before and after he was paralysed is somewhat haunting. Scenes showing him as the centre of attention at a photo shoot and then his barely full visitors book in the hosipital are particularly brutal. The thing that remains constant is Bauby himself, who is just as funny and clever as he ever was.
Through the superb editing it becomes apparent how good Mathieu Amalric's performance is, seeing him before and after his accident combined with the emotion conveyed in Bauby's narration make his performance a lasting one. The supporting cast is also superb, Max Von Sydow gives a heartbreaking performance in just two scenes as Bauby's father trapped in his own way. Emmanuelle Seigner plays Bauby's transcriber who appears to fall for Bauby as they write his book together and showing the intimacy she has with him as the only person with full access to his thoughts and desires.
The Diving Bell And The Butterfly has both the power to be uplifting or heartbreaking, this depends entirely on the view you take of the character of Bauby seen as either the Bell or the Butterfly transforming in front of our very eyes.
The film culminates with Bauby finishing his book, "The Diving Bell and the Butterfly" of the title. The Diving Bell, is alluded to throughout the film, is Bauby's own metaphor for his body encased in a suit surrounded by water where escape and movement is impossible. The Butterfly appears to be both the woman transcribing Bauby's book for him and Bauby's own desire to break free of a Chrysalis and fly away.
Hearing and seeing everything Bauby hears, sees and thinks draws the viewer in whilst giving a sense of how it may feel to be in such a condition, the terror of new doctors and their patronising tone is conveyed brilliantly and resonates long after the film has finished. One example, where a new doctor opts to use the familiar version of Bauby's name, Jean Do without asking is infuriating. The frustration felt by Bauby is found in his interior monologue which screams for certain small things like being able to watch a football match.
Gorgeous flashbacks to Bauby's life before he was paralysed bring a sense of what he was to those around him, the juxtaposition of him as a father before and after he was paralysed is somewhat haunting. Scenes showing him as the centre of attention at a photo shoot and then his barely full visitors book in the hosipital are particularly brutal. The thing that remains constant is Bauby himself, who is just as funny and clever as he ever was.
Through the superb editing it becomes apparent how good Mathieu Amalric's performance is, seeing him before and after his accident combined with the emotion conveyed in Bauby's narration make his performance a lasting one. The supporting cast is also superb, Max Von Sydow gives a heartbreaking performance in just two scenes as Bauby's father trapped in his own way. Emmanuelle Seigner plays Bauby's transcriber who appears to fall for Bauby as they write his book together and showing the intimacy she has with him as the only person with full access to his thoughts and desires.
The Diving Bell And The Butterfly has both the power to be uplifting or heartbreaking, this depends entirely on the view you take of the character of Bauby seen as either the Bell or the Butterfly transforming in front of our very eyes.
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