Unplanned

While the acting and directing could be better, Unplanned presents the experience of Abby Johnson, a Planned Parenthood clinic director, who does a complete 180° transformation on her views on abortion after viewing an abortion. There’s a lot of flashbacks that go from post-transformation to Johnson’s college days when she had two abortions and when she became a volunteer for PP.

The film has some gory moments as it holds nothing back. There are scenes which feature the blood and gore which are part of the clinic’s experience. I wouldn’t bring children to this R rated film. While Gosnell, tells a story about abortion, it’s not as graphic, though the actions of Kermit Gosnell were more violent. Gosnell kept the gore to the minimum.

The film did inform me. I didn’t get have much knowledge of what it’s like to work in a PP clinic. The characters, except for the director, were shown as well-intentioned people. The first director does seem one-dimensional, but a lot of people do see their bosses as stereotypes. In this case the director is all about money and she does show what a business this is. As the director, Abby’s mentor, said, “non-profit is a tax status, not a business model.” The film does show PP’s sales techniques and vision for growth.

I wish the supporting characters like Abby’s husband and parents were more three dimensional.

The film has a message and it does a decent job of conveying it through the life story of Abby Johnson.  It did make me think and it seemed authentic.

Thirst

thirst_image1_original

Call me a philistine but Thirst (1949) is the first Ingmar Berman film I’ve seen. Hmm. I can’t say I liked it, though there were shots that were captivating like when two young dancers are seen in a dressing room mirror and their grouchy teacher’s seen in the mirror beside it.

However, this film about a married couple and their previous lovers didn’t do much for me. I was put off by their intense “go for the throat” arguments. The heroine, a young dancer who’s career’s ended, was egotistical, selfish and mean. No doubt Bergman wanted to show intense feeling when you want to kill or tell your partner to go to hell, but do we need 100 minutes of this? All the characters seemed both sadistic and masochistic. I suppose the raw emotion and language was modern for the 1940s, but it didn’t do anything for me, except make me not want to visit Sweden.

Seeing that last week I saw and enjoyed Passing Fancy, which I grant is a comedy so not comparable, it was perhaps harder to appreciate Thirst. In Passing Fancy we also see characters who’ve had it with each other, who tell each other they hate them, but the storm passes and other emotions exist. In Thirst when a couple reconciles a bit you believe they still want their partner to die and go to hell. Lovely. Charming.

Actually, Thirst seemed like a bit of hell on earth.

I won’t swear off Bergman, but I’m not in a hurry to see more.

I think I need to see more Poldark and Ozu to counteract the Bergman effect.