Archive for the 'Classic' Category

11
Feb
17

L’Avventura

l-avventura-film-monica-vitti-habituallychic-2014-001

Monica VittClaudia

I admit I didn’t much like L’Avventura, the story of a rich Italian woman who goes missing while on a weekend away with her rich, jaded friends. I concede that the actors were gorgeous and skillful; the sets and cinematography excellent, but the story was lacking and the personalities were exasperating.

The story’s simple. Anna is unhappy in a general alienated 1960s way. She bickers with her boyfriend and pouts a lot because life’s missing something. When she’s off on a boat with her friends she dives in the water and is never seen of again. I do mean that. We don’t ever see her and though I can appreciate innovation in plots, this was too much. While her friends and father search for her, her boyfriend (he’s no boy – these characters seem to be in their late 20s or 30s) and her best friend Claudia go to look for her. Looking for Anna becomes insignificant compared to Claudia and Sando, Anna’s boyfriend, who embark on romance spiced up with occasional pangs of guilt on Claudia’s part.

The film is striking and beautiful. I did buy into Claudia’s dramatic emotions as she pushed and pulled at Sando. Much of the film is a critique of the shallow lives of the rich. I didn’t quite buy it, true as it might be. The characters were simply playboys and playgirls and I found it hard to actually believe they couldn’t find something to dedicate their lives to. I suppose there are people like this.

Continue reading ‘L’Avventura’

24
Jan
17

The Freshman

freshman_01The more I see Harold Lloyd, the more I love him and his films. In The Freshman Lloyd plays an young man also named Harold who saves up enough money to go to college. Once on campus, Harold’s main concern is getting popular by following the tricks he saw in a movie.

Instead of being the big man on campus he’s soon the butt of everyone’s jokes. His peers love putting him in awkward positions and taking advantage of him. He never catches a break as he inadvertently insults the dean, takes the dean’s car from the train station and makes wrong step after wrong step. The gags at the student assembly, the dance and the football field are priceless.

Jobyna Ralston plays the sweet love interest Peggy perfectly. Harold meets Peggy on a train and then it turns out that she’s the daughter of his landlady. Yes, it’s coincidental, but it’s a small town and she’s the one sincere woman in a sea of fakes.

I watched a Criterion Collection disc with the commentary, which I find adds to my appreciation of any silent film. I seem to need some talk.

A masterful comedy, The Freshmen is a film I can see watching again and again.

28
Aug
16

Tokyo Godfathers

tokyo-godfathers

By Satoshi Kon, Tokyo Godfathers shows three homeless misfits–a gambler, who’s lost his family, a transvestite and a runaway teen–who discover an abandoned baby. These outsiders, though flawed and somewhat to blame for their situation, come to get the audience’s sympathy and respect. They bicker as they seek the baby’s parents, which is a wild odyssey full of surprises against a gritty backdrop I rarely see in Japanese films.

The misfits have interesting backstories and as the story progresses they are forced to come to terms with their mistakes and history. They lead us through Japan’s shadier sides and the artwork is realistic.

Unlike the other Kon films I’ve seen this one sticks to the story with no departures into the character’s subconsciouses. Tokyo Godfathers/em> is a film I’d watch again and again.

11
Jul
16

Speedy

Lloyd, Harold (Speedy)_01

Harold Lloyd’s 1927 film Speedy is a comic delight. Speedy is hero’s name. Lloyd’s Harold “Speedy” Swift is in love but can’t hold a job for more than a few days so his sweetheart’s grandfather, her guardian, won’t let them marry. We see him lose a couple more jobs through no fault of his own.   His fanatical love of baseball cost him his soda jerk job and luck just wasn’t on his side when he tried to drive a taxi with Babe Ruth as his first and only customer.

Despite his poor job record, Speedy takes his girl to Coney Island, where a slew of mishaps continue.

His sweetheart’s grandfather owns the last horse-drawn car (i.e. a tram driven by a horse when cars and buses have taken over the streets). A railroad tycoon wants to buy him out to replace the old horse-drawn conveyance with his railroad line. After reading about the railroad deal in the paper, Speedy changes grandpa’s requested amount from $10,000 to $70,000, which the big shot who’s come to negotiate with grandpa outright refuses.

Thus the railroad man plots to prevent grandpa from completing his route. If he misses a day, the railroad can take over the route without paying grandpa anything so the shrewd tycoon hires a bunch of thugs to stop grandpa. Speedy happens to overhear the plan and volunteers to take over as the driver. Since Speedy’s batted 0% as far as his jobs go things look bad.

The film is full of sight and physical gags that amaze. How did they do these stunts? Considering how they sometimes used real streets and had to orchestrate massive, chaotic scenes with hordes of extras and animals, it’s incredible and still entertains.

22
Mar
16

A Night to Remember

A NIGHT TO REMEMBER

A Night to Remember (1958) is a disaster film with dignity. It lacks the sentimental love story, which was central to Titanic, but that’s why it’s a better film. Directed by Roy Ward Baker, the film shows the swells enjoying the high life and the boisterous fun below in steerage mixed in with the misplaced wire messages about the iceberg and the frustrating refusal of nearby ship called the California to believe the Titanic’s distress messages.

The film shows people of all sorts, some willing to help their fellow passengers and others who’ll kick and claw their way into a lifeboat. The film weaves the facts in so you don’t feel like it’s a history lecture. You root for the characters all the while knowing most won’t make it. When the boat starts tilting so much that it’s at a 45° angle, you feel dreadful.

The Criterion Collection offers a good essay on the film here.

21
Mar
16

Paprika

paprika-poster

Holy moly, what a film!

Paprika is another fabulous Satoshi Kon creation. It left me stunned by its mastery and left me wanting to figure out what exactly had I experienced.

I’m not a big anime fan so I don’t know much about the history or depth or breath of the art, but wow, Paprika took an art form to its limits. I never knew what to expect and while the basic story’s easy to follow, it’s till perplexing.

The story revolves around a group of psychologists who’ve developed a device called the DC mini that allows people to view another person’t dreams if they are also wearing a DC mini. Boy, I had no idea how bizarre some dreams might be. The technology gets out of the hands of its creators, who then go on a quest to protect this amazing invention, which has a purpose they realize isn’t only good.

From start to finish the film moves in and out of dream worlds that are colorful, boisterous, scary, and bizarre. Dr. Chiba, the lead female character is a very serious, very beautiful psychologist who’s often bickering with her obese, irresponsible colleague as they try to track down his assistant who’s taken the DC mini. Paprika is Chiba’s alter ego who mainly inhabits the world of dream. She’s a sexy, super girl, who rescues a cop who’s having a little existential crisis.

Yet Paprika is not a film about plot. It plays with plot and constantly twists and turns defying any expectations. It’s ultra cool and something any adventurous filmgoer should see. Once I get my VPN to work, I’ll find the trailer on YouTube and post it here.

04
Jan
16

The Men Who Tread on the Tiger’s Tail

The Men Who Tread on the Tiger's Tail kurosawa

Directed by Kurosawa, The Men Who Tread on the Tiger’s Tail (1945) follows a group of seven samurai warriors t who dress as monks to travel through their enemy’s checkpoint. Adapted from classic story that both Noh and Kabuki theatre had covered, Kurosawa adds a comical character, a self-described blockhead who’s a porter taking the same trail as the warriors. For me he was the highlight of the film.

It’s a short (59 minutes) and simple film with little violence considering it takes place during a time of war and the characters are samurai. The theme that struck me most was reverence. The leader hid his face most of the time and his soldiers, particularly his second in command treated him like a god. I was struck by this as my own culture so emphasises equality that I just couldn’t imagine feeling so in awe of any person.

The climax comes early in the film when the warriors must convince the lord at the checkpoint that they are monks. The lord has been told to look for seven warriors in disguise. It’s dramatic, but more suspenseful than high octane as a modern film would be.

The film’s good for people wanting to get to know the breadth of Kurosawa’s work, otherwise I wouldn’t say it’s a “must-see.”




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