There was no warning, no advance notice.
Jan 24: I was on the internet and my eyes drifted to the tragic headline which told me of Ryszard Kapuściński's death. Just like that. That was last week and I still can't believe that he has gone away. He was almost 75. He had plenty of work left in him, he had to have. Now, who will I turn to get the true description about Africa, a continent that Kapuściński visited endlessly. I have not found anyone else who described the continent so perfectly, so lucidly that I felt I was present there along with Kapuściński in that broken jeep trying to cross the border. I felt that I was sharing a beer with him just to fight the heat from killing us. He told us about the importance of silence (Soccer War). We ignore silence but it is during these periods of silence that real evil is lurking. Given recent crimes in Africa, one can't help think of Kapuściński's words. Under the covers of silence, genocide was being committed. And the world could only care for which movie star did what and whose marriage was being broken.
Kapuściński also understood the meaning of time in African life and how time there is not the same entity that hangs like a sword over the Western World. A few words from Shadows of the Sun (Vintage Canada):
"Africans apprehend time differently. For them, it is a much looser concept, more open, elastic, subjective. It is man who influences time, its shape, course, and rhythm (man acting, of course, with the consent of gods and ancestors).....Time appears as a result of our actions, and vanishes when we neglect or ignore it....The absolute opposite of time as it is understood in the European worldview....In practical terms, this means that if you go to a village where a meeting is scheduled for the afternoon but find no one at the appointed spot, asking, "When will the meeting take place?" makes no sense. You know the answer: "It will take place when people come."
His description of an entire city floating away in boxes (Angola in Another Day of Life) is unforgettable. Likewise, his insight into the collapse of the Soviet Union in Imperium is well worth reading. The Emperor (about Hallie Haile Selassie) and Shah of Shahs (last Shah of Iran) brought to life people that the media never fully understood.
As of 2006, I have all his 6 English translated books and each one of them is worth reading again, and again. Simply written, beautifully described, poetic infact. I just learned that another book by him will be released in early 2007 -- Travels with Herodotus. I can't wait for that one.
In the meantime, Africa marches on. Hollywood & the U.K have decided to cash in and are busy making movies about the continent. I have managed to see a few of them over the last year, but I have yet to see Blood Diamond and The Last King of Scotland. Regardless of how these movies are, I doubt if they will be able to match the brilliance of Kapuściński's words.
Thank you Mr. Kapuściński for giving me a look into the real Africa! Thank you for poetic words and your vivid images!!
Tuesday, January 30, 2007
Saturday, January 27, 2007
Notes on recent films & emerging voices in Asian cinema
United 93 (Writer, Director: Paul Greengrass): Rating 9/10
I had avoided seeing this movie until now because I didn’t see a need for making a movie about the most televised event in recent history. Surely, an event that had gotten way too much press coverage and had resulted in more violence around the world didn’t need to be glorified by a movie? I held my belief despite all the positive film reviews. In the end, I changed my mind and I am glad I saw this film. The movie attempts to recreate that morning, first from the point of view in the air-traffic control center and then from events on United 93. The opening hour is spent mostly on the confusion in the air traffic control center when the two planes hit their target. The next 40-50 minutes showcase how an attempted hijacking of United 93 was thwarted. How true are the events shown in the movie? How accurate is the confusion in the air-traffic control center and army facility? We won’t know the true answer but that does not take away from this film’s efforts.
It is a gripping movie that moves at a fact pace. Shot in documentary style, the film does not attempt to judge or glorify anything. It tries to show events as they might have unfolded. And the fact that we know what is going to happen next only adds to the film’s tension. No matter what the reason, or which side is correct, killing of innocent people is not justified. Man is a devilish beast and if he continues his violent ways, then eventually everything will be destroyed. History might show events that started out with United 93 will eventually end with the future shown in Children of Men.
Calvaire, The Ordeal (Director, Fabrice Du Welz): Rating 8/10
I knew nothing of this movie when I picked it up. But what a film it is! The DVD cover is in bloody red indicating scenes of horror. However, the horror is not what I expected.
Marc Stevens (Laurent Lucas) is a traveling music performer who performs at a range of venues like senior homes. At a particular senior home, he attracts the affection of an elderly woman. He finds that inappropriate and quickly tries to leave when he finds that even the nurse there has feelings for him. On route through lonely and desolate Belgian country side, his vans breaks down. He finds Boris who takes him to Bartel’s Inn, about 3 km away. Boris’s words to Bartel are an indication of things to come. As opposed to merely saying that he has brought Bartel a tenant, Boris shouts "I have brought you someone." From then on starts Marc’s hell in a village populated by only older men. The movie is jam packed with odes and references to several films that director Fabrice clearly admires (Psycho to name just one). And the centre piece of all these references is Marc himself, a confused character who is hard to read. At the start of the film, he was the fancy of older women and then later on, in a mysterious village, he becomes the cause of feuding among the men. And the audience is left to wonder, why Marc is so helpless and weak at all this obvious insanity? De Welz has certainly made a unique first feature despite including quite a few horror film clichéd scenes.
Talladega Nights: The Ballad of Ricky Bobby (Director, Adam McKay)
How can one rate this movie? It is one of those films that one either hates or one loves. But I seem to fall somewhere in the middle. I didn’t entirely dislike the film but was not convinced by everything shown. Adam McKay and Will Ferrell are certainly creating a different kind of humour genre in Hollywood. On a positive side, their dry humour with a few touches of satire is refreshing to see compared to all the brain-dead clichéd Hollywood films. Overall, I enjoyed moments of the film and did laugh out loud at quite a few scenes. At other scenes I either smiled or shook my head at the stupidity of the situation. The introduction of Sacha Baron Cohen as the French driver adds to the film’s bizarre energy. Now I want to see a film with Will Ferrell, Ben Stiller, Sacha Baron Cohen and Adam Sandler! Rating 6/10Emerging Voices in Asian cinema…
I was fortunate enough to preview these film as part of the Pan-Asian film festival.
Todo Todo Torres (Philippines, Director John Torres)
I was in Vancouver last year when John Torres picked up his prestigious “Dragons and Tigers Award for Young Cinema” at VIFF. The series programmer Tony Rayns mentioned that Torres’s film proves that home video can be captivating to watch. John’s feature is certainly an interesting blend of home video footage, video diary entries and scripted film. It gives a glimpse into the turbulent life of Manila where teenage angst combined with a police state can lead to acts of terrorism.
The next 6 films are part of Andy Lau’s production company, Focus Films, which is trying to give new talent an opportunity to make movies.
After this our exile (Hong Kong, Director, Patrick Tam)
This was the best of the six films with a lot of raw emotion. The story dives into the life of a troubled couple and how their breaking marriage impacts their child. The wife eventually leaves the husband who is forced to look after the child. Unemployed and having to pay off his gambling debts, the father teaches his son to steal so as to survive. This leads to an emotional ending which I don't want to give away. I felt this film is 20-30 minutes longer than it should be, but the emotional ending gives a nice soothing feel for the movie. Also, the movie contains a beautiful passionate love scene between the father and his girl-friend which is tenderly shot (shades of Wai-Kar Wong).
Joni's Promise (Indonesia, Director Joko Anwar)
This is a cute romantic comedy about a film reel delivery man who is responsible for shuttling film reels in between theatres because each theatre can’t afford to rent its own print. It starts off nicely but after a while, the overdrawn idea wears thin and some substandard acting ruins the movie.
Mukhsin (Malaysia, Director, Yasmin Ahmad)
I have to admit that I am starting to like Yasmin Ahmad’s refreshing approach to families and love stories. I adored her 2005 film Sepet which was just wonderful. Mukhsin is not as good as Sepet but contains enough wonderful moments to warrant interest. Also, some of the some characters from Sepet can be found in Mukhsin , including a touching cameo from the love-struck Sepet couple. Also, the name Orked is used for the leading love interests in both films.
Rain Dogs (Malaysia, Director Yuhang Ho)
Yasmin Ahmad makes a starring role in this film which really feels inspired from Hou Hsiao-hsien's Goodbye South, Goodbye. It is a movie that requires quite a bit of patience as the pace is very relaxed.
Crazy Stone (Hong Kong, Director Hao Ning)
A gangster heist comedy that has taken its inspiration from quite a few Hollywood films like Snatch. Even though at times the acting feels substandard, it is a well shot film.
Love Conquers All (Holland/Malaysia, Director Tan Chui Mui)
Made with partial fund from Holland, this is another independent film that I felt tried to imitate HHH's style, especially in the closing scenes. The main story follows the love-affair of a young woman who falls for the wrong man, despite all the warning signs (which includes a story narrated by the man about a scam where men trap girls like her). Despite the slow start, there is always a shade of darkness underneath the film which starts to unfold when we realize that the woman’s affair has gone all wrong. And we watch her sink into trouble, slowly and slowly.
Thursday, January 25, 2007
Visiting Britain in 2027 and 1997
Quite a cinematic treat this week with two very different yet compelling films. First up, one of the best films out there….
Now, it is interesting that all three Mexican directors have made a political movie. Cuarón tackles the horrific future, Del Toro takes on a bloody past and Iñárritu attempts to show an uncertain present where any single isolated event can be used by a certain country as an excuse for war. However, it is the political nature depicted in Children of Men that prevails. This is because the movie takes the current chaos and projects it into a dark, disgusting, chaotic world where violence and fear rule. Now, 2027 Britain does look like something Orwell could have dreamt of – police are treating the fugees (refugees) as threats and have divided the city into zones, keeping the immigrants at bay. Ofcourse, this is a topic also envisioned by Luc Besson in District 13. Paris in 2010 has a lot in common with Britain in 2027 as per both these films. And that is not surprising. As immigration grows in both countries, so does the fear and distrust of the incoming visitors. On top of that, it is clear that the environment will be devastated in the future because certain people won’t stop driving their SUVs and gigantic gas guzzling vehicles. In addition, garbage will continue to accumulate because humans keep consuming and destroying the planet. The key difference in Children of Men from District 13 is that in the future, women can’t conceive kids. Scientists can’t explain this condition but as a result, no new babies were born anywhere in the world for 18 years. The human race is dying and the movie has a few newspaper clippings to give us an idea when the doomsday clock will start ticking.
I love every aspect of this film. It is raw and expertly directed and shot. Each scene is carefully paced and depicted – a chase, a riot, a killing, a guerilla fun fight, are just some scenes shot in a very realistic manner thanks to the pacing and thought put behind every frame. One could even classify some scenes as documentary footage (the brilliant tank warfare vs street rebel fight) as opposed to scripted action. This is how good this movie is. And the newspaper clippings stuck on the walls at the film’s start is a brilliant touch – one can try to look carefully to see how things will start to fall apart. For example, one clipping tells that Russia annihilates Kazakhstan with a nuclear bomb (Borat would not be amused) and one clip even mentions something about Beckham’s marriage (couldn’t read the full text but what is the future without a mention about this average soccer player?). The art direction is just amazing – one can smell the garbage, swallow the fumes and be repelled by the grayish atmosphere.
I know there are some other worthy movies not nominated for best film. But what annoys me is that a movie like Little Miss Sunshine gets nominated. Even though ..Sunshine was a good film, it was still a movie about a dysfunctional family. And that is just a clichéd topic that keeps getting rehashed every year, either as drama or dark comedy. On the other hand, Children of Men is about the power of imagination and manages to combine sci-fi and politics together. It shows a bleak dark future where there are no aliens and no flying cars but just human’s lust for power, garbage and a whole lot of fear.
Children of Men (Director, Alfonso Cuarón): Rating 10/10
Vintage! Sublime! Brilliant! Raw! Pure Cinematic genius!!! The fact that this movie is not up for a best movie award is a disgrace. Seriously, one of the best films out there! Much has been written about the three Mexican directors dishing out their acclaimed American films in 2006. If there was to be a competition between the three, then Cuarón would win the contest hands down over Del Toro (Pan’s Labyrinth) and Iñárritu (Babel). Ofcourse, I do acknowledge that Cuarón had the benefit of working off a novel whereas Del Toro dug deep within his imagination to produce the magical world in Pan’s Labyrinth. However, I felt the political side of Del Toro’s film was weak, even though it contained quite a few raw violent scenes, scenes where the camera refused to shrink from any nastiness.Now, it is interesting that all three Mexican directors have made a political movie. Cuarón tackles the horrific future, Del Toro takes on a bloody past and Iñárritu attempts to show an uncertain present where any single isolated event can be used by a certain country as an excuse for war. However, it is the political nature depicted in Children of Men that prevails. This is because the movie takes the current chaos and projects it into a dark, disgusting, chaotic world where violence and fear rule. Now, 2027 Britain does look like something Orwell could have dreamt of – police are treating the fugees (refugees) as threats and have divided the city into zones, keeping the immigrants at bay. Ofcourse, this is a topic also envisioned by Luc Besson in District 13. Paris in 2010 has a lot in common with Britain in 2027 as per both these films. And that is not surprising. As immigration grows in both countries, so does the fear and distrust of the incoming visitors. On top of that, it is clear that the environment will be devastated in the future because certain people won’t stop driving their SUVs and gigantic gas guzzling vehicles. In addition, garbage will continue to accumulate because humans keep consuming and destroying the planet. The key difference in Children of Men from District 13 is that in the future, women can’t conceive kids. Scientists can’t explain this condition but as a result, no new babies were born anywhere in the world for 18 years. The human race is dying and the movie has a few newspaper clippings to give us an idea when the doomsday clock will start ticking.
I love every aspect of this film. It is raw and expertly directed and shot. Each scene is carefully paced and depicted – a chase, a riot, a killing, a guerilla fun fight, are just some scenes shot in a very realistic manner thanks to the pacing and thought put behind every frame. One could even classify some scenes as documentary footage (the brilliant tank warfare vs street rebel fight) as opposed to scripted action. This is how good this movie is. And the newspaper clippings stuck on the walls at the film’s start is a brilliant touch – one can try to look carefully to see how things will start to fall apart. For example, one clipping tells that Russia annihilates Kazakhstan with a nuclear bomb (Borat would not be amused) and one clip even mentions something about Beckham’s marriage (couldn’t read the full text but what is the future without a mention about this average soccer player?). The art direction is just amazing – one can smell the garbage, swallow the fumes and be repelled by the grayish atmosphere.
I know there are some other worthy movies not nominated for best film. But what annoys me is that a movie like Little Miss Sunshine gets nominated. Even though ..Sunshine was a good film, it was still a movie about a dysfunctional family. And that is just a clichéd topic that keeps getting rehashed every year, either as drama or dark comedy. On the other hand, Children of Men is about the power of imagination and manages to combine sci-fi and politics together. It shows a bleak dark future where there are no aliens and no flying cars but just human’s lust for power, garbage and a whole lot of fear.
The Queen (Director, Stephen Frears. Writer, Peter Morgan): Rating 9/10
Helen Mirren deserves all the praise and accolades that she is getting for this movie. This was probably the most difficult acting role that anyone could have signed up for but Mirren shines in every frame. Credit must also go to Peter Morgan for coming up with such a balanced script. Morgan apparently wrote the script first and then gave a draft to a few insiders to ensure that he got it right. The film shows the inside story about what happened in the Royal Family during the tragic week in August/September 1997 when the “people’s princess” Diana was tragically killed. It was a news item that shook the world and the film shows how the Queen handled the situation. Another interesting aspect in the film is the depiction of Tony Blair’s relationship with the Queen -- Blair (played by Michael Sheen) rose to fame during this turbulent week and won the public’s support with his reaction to Diana’s death. It is interesting to see a compassionate side of Blair in the movie and reflect that at one point, he actually listened to his public. Near the film’s end, there is a scene where the Queen warns Blair that one day he will be shunned by the very people who adore him. Not sure if that line was actually said but it is true given the current situation.Sunday, January 21, 2007
Pan’s Labyrinth
Writer & Director: Guillermo del Toro
Cinematography: Guillermo Navarro
I can’t give a rating to this film because I missed the first 5-8 minutes of the film. Now it is completely my fault that I missed the start because I had underestimated how busy the theatre would be on a Sunday night. Now, on Friday Jan 19 three big movies finally opened in my city -- Pan’s Labyrinth,The Last King of Scotland and Letters from Iwo Juma. Only one theatre in the city (the local art house theatre) had both films playing at the same time for the early evening show -- Pan’s Labyrinth played at 7 pm and The Last King of Scotland played at 7:10 pm. Other than during the film festival, this art house theatre is hardly ever full on a sunday night so I casually walked in few minutes before 7 pm. But was I surprised!! The line-up was almost out the door with most people waiting to buy tickets for Last King…. I eventually got in the theatre around 7:10 pm regretting my stupidity to leave it this late. Considering so many people were waiting to see these two films, why on earth did these films not open earlier in the city? Why do North American multiplexes insist on showing brain dead films and are not willing to take a risk by opening more foreign films? Why the hell do we have to wait for the best films to only open during the Sept – Dec time frame? The awards dominate everything and that is annoying. But then again, what I am saying means nothing. Even if theatres showed foreign films, people would only choose certain kind. Sure Spanish, French, Italian and the odd action-Chinese film sometimes do well in multiplexes but I can bet certain other language films won’t have a great turnout unless they have a major award buzz around them. Anyone I am rambling on & complaining about lack of good movies being released in my city’s theatres on time. I should be lucky that atleast these films have opened in my city because not every city around North America has that luxury. Anyway, on to the film…
The film can be dividend in two components:
-- Spanish civil war in WWII
-- a magical fable taking place in a forest’s Labyrinth
The two components are linked by a little girl (Ofelia, brilliantly played by Ivana Baquero) who drifts between both worlds. How does one explain both worlds? The obvious explanation is the fable represents escapism for the little girl. In that sense, this film could be taken as a cinematic form of "magic realism", the term first used to label Latin Literature (but now has spread to other literature satisfying the criteria). Ofelia is show to collect fairy tale books and her innocence combined with her love for tales of princesses and make-believe could account for such an explanation. Also, her step father (Captain Vidal played wickedly by Sergi López) happens to be a cruel tyrant who needs no excuse to ruthlessly kill people. Vidal believes in upholding Franco’s leadership and is sent to the forest to crush the rebellion. So in order to escape the real life demon in her world, Ofelia rather escape to the magical world where a giant toad, a faun and a devilish creature are nothing to be feared off. Also, Ofelia has few friendly fairies to help her along in both the magical and real world -- in the real world, Ofelia sees her mother, Carmen and the house assistant Mercedes as her guardian angels.
I could not help think of Del Toro’s brilliant The Devil’s backbone while watching this as that film also combined make-believe, innocent children and the Spanish civil war. The fight between the army and rebels in Pan’s Labyrinth reminded me of the 2006 award-winning Mexican film El Violin -- parallels are found in how Mercedes and the doctor go to great length to help the rebels under Vidal’s nose. However, I am divided in my final verdict of Del Toro’s latest film. I loved the magical world and every scene there is deliciously shot. But Captain Vidal’s world is nothing new – a few shocking torture scenes that have been shown in more gory details in other films before (a little from Irréversible, a few other from Saw) and the army vs rebel conflict has been covered thoroughly in other Latin films as well. But can missing the first few minutes have made such a difference to my opinion? Can getting to the theatre late have changed my attitude? I guess I won’t know the full answer till I see the start again when this movie is released on DVD. In the meantime, I am more inclined to agree with Peter Bradshaw’s assessment rather than with the majority of critics on Metacritic who have given this movie full marks. Is this movie worthy of such a high rating? I don’t think so. But it is worth seeing though. Overall, I am really disappointed that movies like this and Babel have been given so much importance as both films are pretty straight-forward. Maybe I am not seeing all the Christian symbolism, references to Shakespeare, Alice in Wonderland and Orpheus in Pan’s Labyrinth? But even if I spend a few hours deciphering every scene in the film, I don’t think I would change my opinion of this film. Unless the first few minutes started out as a fable…..
Cinematography: Guillermo Navarro
I can’t give a rating to this film because I missed the first 5-8 minutes of the film. Now it is completely my fault that I missed the start because I had underestimated how busy the theatre would be on a Sunday night. Now, on Friday Jan 19 three big movies finally opened in my city -- Pan’s Labyrinth,The Last King of Scotland and Letters from Iwo Juma. Only one theatre in the city (the local art house theatre) had both films playing at the same time for the early evening show -- Pan’s Labyrinth played at 7 pm and The Last King of Scotland played at 7:10 pm. Other than during the film festival, this art house theatre is hardly ever full on a sunday night so I casually walked in few minutes before 7 pm. But was I surprised!! The line-up was almost out the door with most people waiting to buy tickets for Last King…. I eventually got in the theatre around 7:10 pm regretting my stupidity to leave it this late. Considering so many people were waiting to see these two films, why on earth did these films not open earlier in the city? Why do North American multiplexes insist on showing brain dead films and are not willing to take a risk by opening more foreign films? Why the hell do we have to wait for the best films to only open during the Sept – Dec time frame? The awards dominate everything and that is annoying. But then again, what I am saying means nothing. Even if theatres showed foreign films, people would only choose certain kind. Sure Spanish, French, Italian and the odd action-Chinese film sometimes do well in multiplexes but I can bet certain other language films won’t have a great turnout unless they have a major award buzz around them. Anyone I am rambling on & complaining about lack of good movies being released in my city’s theatres on time. I should be lucky that atleast these films have opened in my city because not every city around North America has that luxury. Anyway, on to the film…
The film can be dividend in two components:
-- Spanish civil war in WWII
-- a magical fable taking place in a forest’s Labyrinth
The two components are linked by a little girl (Ofelia, brilliantly played by Ivana Baquero) who drifts between both worlds. How does one explain both worlds? The obvious explanation is the fable represents escapism for the little girl. In that sense, this film could be taken as a cinematic form of "magic realism", the term first used to label Latin Literature (but now has spread to other literature satisfying the criteria). Ofelia is show to collect fairy tale books and her innocence combined with her love for tales of princesses and make-believe could account for such an explanation. Also, her step father (Captain Vidal played wickedly by Sergi López) happens to be a cruel tyrant who needs no excuse to ruthlessly kill people. Vidal believes in upholding Franco’s leadership and is sent to the forest to crush the rebellion. So in order to escape the real life demon in her world, Ofelia rather escape to the magical world where a giant toad, a faun and a devilish creature are nothing to be feared off. Also, Ofelia has few friendly fairies to help her along in both the magical and real world -- in the real world, Ofelia sees her mother, Carmen and the house assistant Mercedes as her guardian angels.
I could not help think of Del Toro’s brilliant The Devil’s backbone while watching this as that film also combined make-believe, innocent children and the Spanish civil war. The fight between the army and rebels in Pan’s Labyrinth reminded me of the 2006 award-winning Mexican film El Violin -- parallels are found in how Mercedes and the doctor go to great length to help the rebels under Vidal’s nose. However, I am divided in my final verdict of Del Toro’s latest film. I loved the magical world and every scene there is deliciously shot. But Captain Vidal’s world is nothing new – a few shocking torture scenes that have been shown in more gory details in other films before (a little from Irréversible, a few other from Saw) and the army vs rebel conflict has been covered thoroughly in other Latin films as well. But can missing the first few minutes have made such a difference to my opinion? Can getting to the theatre late have changed my attitude? I guess I won’t know the full answer till I see the start again when this movie is released on DVD. In the meantime, I am more inclined to agree with Peter Bradshaw’s assessment rather than with the majority of critics on Metacritic who have given this movie full marks. Is this movie worthy of such a high rating? I don’t think so. But it is worth seeing though. Overall, I am really disappointed that movies like this and Babel have been given so much importance as both films are pretty straight-forward. Maybe I am not seeing all the Christian symbolism, references to Shakespeare, Alice in Wonderland and Orpheus in Pan’s Labyrinth? But even if I spend a few hours deciphering every scene in the film, I don’t think I would change my opinion of this film. Unless the first few minutes started out as a fable…..
Saturday, January 20, 2007
Movie run continues……
The fast pace of movie watching continues. It seems I am on a rush to make up for the lack of titles seen last December by packing January with plenty of viewings. I have easily seem more than 10 movies in the last week with possibly more titles to come in the next few days. In the meantime, notes on 3 recent films:
The strongest aspect of the movie is the acting. All the actors are sharp and deliver perfect lines. The story on the other hand drags on longer than it should and even when it ends, it has not tied everything together, probably because it does not know how to. Initially, the film keeps one guessing and slowly gives out little pieces of information. But after a while, one really wishes that the film reaches closure. I have to say that this is the most unlikely bank robbery movie recently made. The trailers seemed to highlight the fact that there is more to this bank robbery so I kept looking for an alternative plot line. In the end, I was partly right in guessing what the robbery was about but the film takes it time reaching the end.
The only unsolved mystery for me is the choice of the fabulous Dil Se song ‘Chaiyya Chaiyya’ for the opening and closing credits. The song was a breath of fresh air when it was released in 1998 and the train-dance song is one of the most popular Bollywood numbers in recent years but what was it doing in this Spike Lee film? I have to admit the song seems more appropriate in the closing credits but seems out of place at the start. But hey, just like in Ghost World a foot thumping Bollywood number is not a bad way to start a film!
I had heard so much about this film that it is a surprise that I left it this long to see it. The story is well known – two climbers survive a near-death ordeal in the Peruvian mountains. How the two survived is just an amazing fact. The film contains the survivors Joe and Simon narrating their details. Full credit must go for how this film is structured – it would have been really dull if the film was simply a ‘talking-head’ type of documentary with Joe and Simon simply telling their tale. But with the usage of re-enacted scenes with actors and real climbers, we truly get a sense of their amazing journey and the difficulty the terrain and weather posed. The glaciers look stunning and the dangers of ice/mountain climbing are very apparent. Where some people might see fear, others see adventure! It is really remarkable that the two survived to tell this tale. In an uncertain terrain like snow and ice covered mountains, there is a very fine line between survival and plunging to one’s doom. The well filmed visuals really give us a front row seat of what Joe and Simon went through.
Inside Man (Director, Spike Lee): Rating 7.5/10
On first glance, a commercial multiplex bank robbery film does not seem like a Spike Lee movie. But if one looks carefully at a few elements, then it does appear that only Spike Lee could have done such a work. For example, the scenes with the Sikh bank employee's rough treatment by the police would not have been inserted by any other director. But it had to be put in to show how ignorance still exists and people can’t understand who Sikhs are. One can argue for such ignorance in a small town but in a major city like New York, well that defies belief. But it does happen and I am glad Spike Lee inserted this tiny segment in his film along with a few other scenes about sensitive topics (racism, debate about violence related to video games).The strongest aspect of the movie is the acting. All the actors are sharp and deliver perfect lines. The story on the other hand drags on longer than it should and even when it ends, it has not tied everything together, probably because it does not know how to. Initially, the film keeps one guessing and slowly gives out little pieces of information. But after a while, one really wishes that the film reaches closure. I have to say that this is the most unlikely bank robbery movie recently made. The trailers seemed to highlight the fact that there is more to this bank robbery so I kept looking for an alternative plot line. In the end, I was partly right in guessing what the robbery was about but the film takes it time reaching the end.
The only unsolved mystery for me is the choice of the fabulous Dil Se song ‘Chaiyya Chaiyya’ for the opening and closing credits. The song was a breath of fresh air when it was released in 1998 and the train-dance song is one of the most popular Bollywood numbers in recent years but what was it doing in this Spike Lee film? I have to admit the song seems more appropriate in the closing credits but seems out of place at the start. But hey, just like in Ghost World a foot thumping Bollywood number is not a bad way to start a film!
Touching the Void (Director, Kevin MacDonald): A very worthy watch!
I had heard so much about this film that it is a surprise that I left it this long to see it. The story is well known – two climbers survive a near-death ordeal in the Peruvian mountains. How the two survived is just an amazing fact. The film contains the survivors Joe and Simon narrating their details. Full credit must go for how this film is structured – it would have been really dull if the film was simply a ‘talking-head’ type of documentary with Joe and Simon simply telling their tale. But with the usage of re-enacted scenes with actors and real climbers, we truly get a sense of their amazing journey and the difficulty the terrain and weather posed. The glaciers look stunning and the dangers of ice/mountain climbing are very apparent. Where some people might see fear, others see adventure! It is really remarkable that the two survived to tell this tale. In an uncertain terrain like snow and ice covered mountains, there is a very fine line between survival and plunging to one’s doom. The well filmed visuals really give us a front row seat of what Joe and Simon went through.
Dolls (2002, Japan, Director Takeshi Kitano): Rating 7/10
Every now and then, Takeshi Kitano takes a break from his action/gangster films to make simple films. In 1991 he directed A Scene at the Sea and in 2002 he directed Dolls in the years between Brother (yakuza film) and 2003’s Zatoichi. Dolls is a tender and beautifully shot film centering on three separate tragic love stories. The movie starts with a Japanese puppet play before diving into the 3 stories. The strongest aspect of this film is the gorgeous cinematography with the red autumn leaves and snow symbolizing the two lover’s journey in one of the segments.Babel and a Spanish Double
Babel: Rating 8/10
Director -- Alejandro González Iñárritu. Writer -- Guillermo Arriaga
Back in the summer of 2006, I really looked forward to this film. Having loved Amores Perros and 21 Grams, I had huge hopes for this movie. But after seeing the trailers, I had my doubts and stayed away from this film until this week. Now, only one theatre in the city is showing this movie and attendance has increased again thanks to the best picture award it got this week. But a lot of the people attending Thu night’s show (Jan 18) had no idea what to expect and safe to say, they were disappointed. There were even a few walk-outs.
This is a film that does not deserve to be seen in a multiplex because it demands complete silence. In a regular loud multiplex film, slight noises from the audience are dwarfed by the loud on screen volume. But Babel is not a loud film – it contains long periods of silence and very little dialogue. The visuals tell more of a story with subtitles conveying the rest of the story. With such periods of silences, every slight noise in the theatre can be heard – the chewing of the popcorn, an audience member dropping his pop on the floor, water running down the pipes in the adjoining bathroom, shuffling of feet. But even if I saw this film in complete silence, I still would have been disappointed. Here are some mental notes that flew threw my mind during this film:
-- Only the American couple in the film gets a happy American ending (something mentioned by the Japanese newscaster in the movie). The rest of the world is miserable and continues to suffer. In fact, other people have to suffer so that the Americans can prosper. Ofcourse, one could argue that the ending for the Japanese father-daughter finally has hope, but that is debatable.
-- The usage of multiple languages (Arabic, Spanish, Japanese and English) in this film works great because actors talking in their native language lend more authenticity.
-- My understanding was that the movie was supposed to show how the language barriers in the world led to confusion and caused problems (tower of babel). However, despite the multiple languages spoken in the movie, there are no language barriers in the characters way and I don’t think the film’s title is appropriate to the story.
-- The three stories are forcibly linked or appear to be. Amores Perros and 21 Grams felt more authentic. Can we now expect more of these Crash formula films in the future?
-- Great camera shots, especially the last shot of the Japanese girl and father. As they are hugging on their balcony, the camera moves away backwards and we slowly see the other buildings come into focus. Normally in other movies, the camera narrows into a single point as opposed to pulling away and displaying the wider background.
-- Guns kill people and guns in the hands of kids is a horrible formula. No matter what pro-gun people say. We only need to look at Central Africa for more examples.
-- As the world is more connected with cell phones and internet, fear and lies are easily propagated. In fact, media control in the hands of wrong people leads to incorrect news reports and conclusions. A single shooting in Morocco could have led to an American attack and eventual war. This is the present western attitude of shoot first, ask questions later.
-- One thing was interesting – in the end credits, we see the following:
“based on an original idea by Alejandro González Iñárritu and Guillermo Arriaga “
What is that supposed to mean? Are the two trying to ensure no one tries to accuse them of stealing this story idea from a real incident?
Overall, I was hugely disappointed with this movie. Half-way through the 140 min movie, I told myself if I saw a shot of the clouded blue sky, I would know the director is trying too hard and sure enough, there is such a shot near the end of the movie. But I can’t understand why people call this film complex. Seriously, it is pretty straight forward. Yes, long periods of silence in movies allow us to contemplate each scene and think things through. But none of the stories in Babelare rich enough to require much thought. In addition, if the media reports are true then this is the last collaboration between Alejandro and Guillermo. That would be a real shame because they have had a good run together. Babel is the weakest of their three joint feature film efforts but still their powerful first two films were enough to warrant them attention.
Jealousy (1999, Spain, Director Vicente Aranda): Rating 7.5/10
It turns out that I had seen this film a few years ago, but I forgot when I rented this. It is a good watch nonetheless. A month before his marriage, Antonio discovers a picture of his bikini clad fiancée (Carmen) with a stud among a group of her friends. His jealous nature takes over him and he needs to find out who the stud is. And Antonio’s curiosity is only increased when all the people around him lie about the stud in the picture, After a brief break up with Carmen, the two make up and eventually marry. But Antonio is still not satisfied and his relentless pursuit of the truth drives Carmen mad. She is forced to reveal all to Antonio and after that, both of them need to get the stud, José, out of their system.
The film contains two very good expressive performances from Aitana Sánchez-Gijón (Carmen) & Daniel Giménez Cacho (Antonio). In fact, Daniel’s stern face and glaring eyes steal the show. There is an interesting camera angle when Carmen decides to tell Antonio the truth. We see her in the background but in the foreground, we only see Antonio’s left eye. Even with such an angled look at his face, we can clearly understand what is going on through his mind. But the story does start to wear down near the end and I had lost all interest by the final frame.
Lisbon (1999, Spain/Argentina, Director Antonio Hernández): Rating 6/10
Despite the presence of Sergi López and Carmen Maura, I could not be interested in this film. López plays a video cassette salesman who travels between Spain and Portugal. One day he finds a mysterious woman (played by Maura) who insists on being taken to Lisbon at whatever cost. In trying to help her, he finds himself in between her crazy family and her pursuit of her lover. An ok film with average acting but a short story stretched too long.
Director -- Alejandro González Iñárritu. Writer -- Guillermo Arriaga
Back in the summer of 2006, I really looked forward to this film. Having loved Amores Perros and 21 Grams, I had huge hopes for this movie. But after seeing the trailers, I had my doubts and stayed away from this film until this week. Now, only one theatre in the city is showing this movie and attendance has increased again thanks to the best picture award it got this week. But a lot of the people attending Thu night’s show (Jan 18) had no idea what to expect and safe to say, they were disappointed. There were even a few walk-outs.
This is a film that does not deserve to be seen in a multiplex because it demands complete silence. In a regular loud multiplex film, slight noises from the audience are dwarfed by the loud on screen volume. But Babel is not a loud film – it contains long periods of silence and very little dialogue. The visuals tell more of a story with subtitles conveying the rest of the story. With such periods of silences, every slight noise in the theatre can be heard – the chewing of the popcorn, an audience member dropping his pop on the floor, water running down the pipes in the adjoining bathroom, shuffling of feet. But even if I saw this film in complete silence, I still would have been disappointed. Here are some mental notes that flew threw my mind during this film:
-- Only the American couple in the film gets a happy American ending (something mentioned by the Japanese newscaster in the movie). The rest of the world is miserable and continues to suffer. In fact, other people have to suffer so that the Americans can prosper. Ofcourse, one could argue that the ending for the Japanese father-daughter finally has hope, but that is debatable.
-- The usage of multiple languages (Arabic, Spanish, Japanese and English) in this film works great because actors talking in their native language lend more authenticity.
-- My understanding was that the movie was supposed to show how the language barriers in the world led to confusion and caused problems (tower of babel). However, despite the multiple languages spoken in the movie, there are no language barriers in the characters way and I don’t think the film’s title is appropriate to the story.
-- The three stories are forcibly linked or appear to be. Amores Perros and 21 Grams felt more authentic. Can we now expect more of these Crash formula films in the future?
-- Great camera shots, especially the last shot of the Japanese girl and father. As they are hugging on their balcony, the camera moves away backwards and we slowly see the other buildings come into focus. Normally in other movies, the camera narrows into a single point as opposed to pulling away and displaying the wider background.
-- Guns kill people and guns in the hands of kids is a horrible formula. No matter what pro-gun people say. We only need to look at Central Africa for more examples.
-- As the world is more connected with cell phones and internet, fear and lies are easily propagated. In fact, media control in the hands of wrong people leads to incorrect news reports and conclusions. A single shooting in Morocco could have led to an American attack and eventual war. This is the present western attitude of shoot first, ask questions later.
-- One thing was interesting – in the end credits, we see the following:
“based on an original idea by Alejandro González Iñárritu and Guillermo Arriaga “
What is that supposed to mean? Are the two trying to ensure no one tries to accuse them of stealing this story idea from a real incident?
Overall, I was hugely disappointed with this movie. Half-way through the 140 min movie, I told myself if I saw a shot of the clouded blue sky, I would know the director is trying too hard and sure enough, there is such a shot near the end of the movie. But I can’t understand why people call this film complex. Seriously, it is pretty straight forward. Yes, long periods of silence in movies allow us to contemplate each scene and think things through. But none of the stories in Babelare rich enough to require much thought. In addition, if the media reports are true then this is the last collaboration between Alejandro and Guillermo. That would be a real shame because they have had a good run together. Babel is the weakest of their three joint feature film efforts but still their powerful first two films were enough to warrant them attention.
Jealousy (1999, Spain, Director Vicente Aranda): Rating 7.5/10
It turns out that I had seen this film a few years ago, but I forgot when I rented this. It is a good watch nonetheless. A month before his marriage, Antonio discovers a picture of his bikini clad fiancée (Carmen) with a stud among a group of her friends. His jealous nature takes over him and he needs to find out who the stud is. And Antonio’s curiosity is only increased when all the people around him lie about the stud in the picture, After a brief break up with Carmen, the two make up and eventually marry. But Antonio is still not satisfied and his relentless pursuit of the truth drives Carmen mad. She is forced to reveal all to Antonio and after that, both of them need to get the stud, José, out of their system.
The film contains two very good expressive performances from Aitana Sánchez-Gijón (Carmen) & Daniel Giménez Cacho (Antonio). In fact, Daniel’s stern face and glaring eyes steal the show. There is an interesting camera angle when Carmen decides to tell Antonio the truth. We see her in the background but in the foreground, we only see Antonio’s left eye. Even with such an angled look at his face, we can clearly understand what is going on through his mind. But the story does start to wear down near the end and I had lost all interest by the final frame.
Lisbon (1999, Spain/Argentina, Director Antonio Hernández): Rating 6/10
Despite the presence of Sergi López and Carmen Maura, I could not be interested in this film. López plays a video cassette salesman who travels between Spain and Portugal. One day he finds a mysterious woman (played by Maura) who insists on being taken to Lisbon at whatever cost. In trying to help her, he finds himself in between her crazy family and her pursuit of her lover. An ok film with average acting but a short story stretched too long.
Friday, January 19, 2007
Notes on recent films
District 13 (Director, Pierre Morel): Rating 7/10
Luc Besson is an industry in himself. Over the last two decades, he has been responsible for some very interesting films and characters (Léon to name one), which have led to other copy cat films and series spin offs (Le Femme Nikita). But in the last few years, he has been doing more writing and producing a series of action packed films. The genre films come garnished with some touches that only Besson could do. The fast paced action scenes are centered around a typical good-evil-revenge story yet the unique characters and sometimes a few twists make most Besson films fun to watch. The same could be said for District 13 -- it is fast paced, with a pinch of humour, contains unique situations and is overall enjoyable. The film is set in Paris 2010, a city that has still not learned how to deal with its differences. Following the riots in 2005, the film shows a scenario in the future where the French government erects walls and separates the neighborhoods into districts. People know which district to stay away from. The interesting aspect of the film is the angle where the government admits its failure and comes up with a wicked plan to ‘cleanse’ the problem. Given the current world situation, this evil solution is entirely possible. In fact, a few countries have tried it in the past. The film also clocks in just over 80 minutes, ensuring that the lean-thin story does not overstay its welcome.
The House of Sand (Director, Andrucha Waddington): Rating 10/10
I must be a sucker for Brazilian films. I sometimes get hooked emotionally and can’t get the film out of my system. Such happened with Cinema, Aspirins and Vultures, The Middle of the World and even Central Station. The simple stories of a journey combined with stunning landscapes seems to do me in. In the case of House of Sand the landscape could not be more poetic and isolated – white sanded desert surrounded by the ocean on one side. The rain fills the lagoons in the desert and threatens to erode away the houses standing on the sand. Ofcourse, when the wind kicks in, the sand becomes a force to deal with and it threatens to enter and take over a house. This battle of the house vs sand sounds like The Woman of the dunes but on the DVD interview, the director mentions he was inspired by a real life story of a Brazilian woman who tried to prevent the sand from taking over her house. And when she died, the sand moved in and swallowed up the house. In this film’s story, it too is women trying to fight with the sand.
The story opens in 1910, when a husband takes his pregnant wife, mother-in-law and a band of followers to live in the desolate white desert in Northern Brazil. However, through a series of incidents, the husband dies, the followers run away and the women are left to fend for themselves. Their first instinct is to get away but that proves to be a difficult task. When an opportunity to leave presents itself, the mother, Maria (Fernanda Montenegro) decides they should wait because her daughter Áurea (Fernanda Torres) will soon give birth. We next find the two women 8-9 years in the future, in 1919, the year of the Eclipse. Áurea has given birth to Maria who is now about 8 years old. Once again, Áurea carves an opportunity to escape but when returns home to fetch her mother and daughter, the sand has destructed their house leaving the mother dead. But young Maria has survived and the chance for escape goes. Eventually, Áurea grows old and at the start of World War II finds another chance to escape. This time however, she has found a reason to stay (love with Massu) and sends Maria off. Finally, Maria returns to find her mother in the year that man landed on the moon.
Besides the stunning landscape, the genius of this story is getting real life mother-daughter Fernanda Montenegro & Fernanda Torres to play multiple roles. Montenegro plays 3 roles – the mother, then she plays an older Áurea and finally she plays a 58 old year old Maria (Áurea’s daughter). Torres plays Áurea and a 28 year old Maria. This is a great move because it shows that no matter how much children are different from their parents, they reflect an aspect of their parents. In this case, the physical similarity is pitted against the stagnant desert and makes for a great character-study. In the end, when Maria returns and tells her mother, Áurea, that man has landed on the moon, Áurea asks what man has found on the moon. “Nothing” replies Maria, nothing except “sand”. We see a smile on an aging Áurea’s face and the camera than moves back to let us see the moon shining on the white desert, making the entire desert look like the moon’s surface. This really is a movie that if one is not in the mood for, they will not like. In fact, the first 10-15 minutes are probably the most dull but after that, the epic battle of sand vs humans takes over. Ofcourse, there is a raw sex scene thrown in the movie which changes the relationship between Áurea and her 8 year old daughter Maria and results in Maria growing up to be a wild passionate woman, willing to throw herself at anyone. In fact, it is that wild passionate side of Maria’s personality that gains her freedom from the desert.
Guru (Director, Mani Ratnam): Rating 8.5/10
Little more than 12 hours after I finished seeing House of Sand, I saw Mani Ratnam’s latest flick, the much anticipated Guru. The good thing is this Bollywood film does meet the expectations in some regards and even exceeds it in a way. When it comes to acting, no one could have expected such a fine performance from Abhishek Bachchan. This is clearly his film and he owns every frame. At the peak of his character, Guru’s, powerful speech, Abhishek’s voice sounds like his father’s. That is inevitable but one can’t help but think that it is Amitabh himself delivering those dialogues. Besides Abhishek, the rest of the cast rise to the occasion as well - -Aishwarya Rai has given one of her best performances in years, Madhavan has a short but strong role and Mithun is a real delight. Mithun Chakraborty is certainly aging gracefully and his tender yet principled role is an ideal foil to Guru’s cold ruthless capitalist ways.
A.R Rahman’s music is soothing, the visual are stunning (Istanbul and India look just beautiful). But my problem with this film is the same as I had with Rang De Basanti. There is something which still holds back certain Bollywood films from greatness. Both these films contain an underlying message that is misguided and feels wrong. In both films, the main character(s) are shown to be heroes yet they are misguided but the movie still glorifies them. In Rang De Basanti the youth clearly have the wrong idea but the story only fuels their naivety. Guru on the other hand is shown to be a clever businessman but he bends the rules too frequently. In return, he blames the government. Yet, he could have met the government’s needs while still expanding his company to reap profits. But I suppose the argument is that no company can ever grow at such a rapid pace without breaking some law – be it moral, ethical or even environmental. Even the judges in Guru can’t make their mind up if Guru is a thug or a genius. In my opinion, Guru is a capitalist thug. So should I slam the movie for that reason? Not really. But I have to take some points off for the needless Turkish cabaret song at the start of the film with Mallika Sherawat. Mallika can’t belly dance, in fact her extras did a far superior job than her. But the problem is the majority of the Indian male public does not care for her dancing ability and will be preoccupied with her other assests. Still, her cameo is one of the film’s weakest elements.
Dhoom 2 (did someone really direct this?): Rating 5/10
If the movie only had Abhiskek, Hrithik and Aishwarya in it and a few badly choreographed motorcycle and action scenes were removed, then this film would have been much better. Uday Chopra can’t act and is a waste in any film. Ofcourse, he had to be in this movie because he was in the first film and his brother is the film’s producer. He takes away enough negative points from this cocktail mix of Hollywood films.
Woh Lahme (Director, Mohit Suri): Rating 8/10
I am not sure how much of this film is based on fact and how much is fiction. Aspects are based on Mahesh Bhatt’s relationship with the once legendary Parveen Babi, but where is the line between fact and fiction? It is clear that some scenes in the film are about Mahesh wishing he had done more to help Parveen. It really was a sad fate to learn that the once hot starlet died a lonely death last year, with a full 2 days passing by before anyone knew of her death. Mohit Suri has done a great job of translating Mahesh’s tender story and giving it a powerful treatment. Both Kangana Ranaut & Shiney Ahuja are very good, with Kangana giving a tender performance of an actresses struggling to deal with her inner demons. While Maine Gandhi ko Nahin Mera dealt with a similar topic, Woh Lahme gives a horrific in the face view of what it is like to be trapped in a tormented mind. And on top of that, this film contains one of the best Bollywood songs I have heard in years – ‘Mujhe Pyar Hai’ and its remixed version are just too good to turn away from.
Zatracení, The Damned (Director, Dan Svátek): Rating 4.5/10
Nothing to praise about this low budget Czech film about an innocent prey caught smuggling heroin out of Thailand. The only redeeming aspect is the film within film aspect where a character tries to save his half-brother by putting together archive footage of his brother’s time in Thailand. The acting is substandard and even though the footage idea is interesting, it gets dull after a while.
Thursday, January 18, 2007
Notes on a Scandal
Director, Richard Eyre: Rating 10/10
I knew nothing of this film except that it starred Judi Dench and Cate Blanchett when I got a free pass to attend an advance screening on Thursday, Jan 11. I eventually saw a few words from the tagline and learned that in the film a teacher has an affair with her high school student. That is all I knew when I walked into to see this movie. What an amazing surprise! This is a gem of film packed with raw emotions and riveting acting. This is Judi Dench’s movie through and through but Cate Blanchett plays her role convincingly -- one really believes her characters confusion. I don’t want to talk about the story as this movie is best seen without knowing anything about it. But one thing struck me as the story was portrayed. What really are scandals? Sure there are some scandals which are worth reporting about but in a lot of cases, the media appears to swoop down on an easy prey and enjoys the destruction of a defenseless individual. Example, one president lies about his affair with a woman and is crucified. Another president lies even more blatantly, orders the invasion of a country, occupies a country, helps his friends get richer, is responsible for the destruction of a nation, causes the world to be a more unstable place but is given a free ride by the media. No-one in the media crucifies him and people stand by quietly. Which is a worse scandal?
In modern society where much importance is given to film stars, it is no wonder that celebrity marriages and affairs are given front page coverage whereas real crimes are hidden behind closed doors. Now, the film is not about a scandal involving a celebrity but a mere student and a public school teacher. So one could say that this falls in the realm of public domain but everything is not that clear-cut. The movie is handled in such a way that one can’t get a feeling of any wrong doing on part of the elder teacher and the young student – both wanted something and they got it. Is that wrong? In terms of the law, yes. But if one looks at the relationship shown, then things seemed appropriate.
I knew nothing of this film except that it starred Judi Dench and Cate Blanchett when I got a free pass to attend an advance screening on Thursday, Jan 11. I eventually saw a few words from the tagline and learned that in the film a teacher has an affair with her high school student. That is all I knew when I walked into to see this movie. What an amazing surprise! This is a gem of film packed with raw emotions and riveting acting. This is Judi Dench’s movie through and through but Cate Blanchett plays her role convincingly -- one really believes her characters confusion. I don’t want to talk about the story as this movie is best seen without knowing anything about it. But one thing struck me as the story was portrayed. What really are scandals? Sure there are some scandals which are worth reporting about but in a lot of cases, the media appears to swoop down on an easy prey and enjoys the destruction of a defenseless individual. Example, one president lies about his affair with a woman and is crucified. Another president lies even more blatantly, orders the invasion of a country, occupies a country, helps his friends get richer, is responsible for the destruction of a nation, causes the world to be a more unstable place but is given a free ride by the media. No-one in the media crucifies him and people stand by quietly. Which is a worse scandal?
In modern society where much importance is given to film stars, it is no wonder that celebrity marriages and affairs are given front page coverage whereas real crimes are hidden behind closed doors. Now, the film is not about a scandal involving a celebrity but a mere student and a public school teacher. So one could say that this falls in the realm of public domain but everything is not that clear-cut. The movie is handled in such a way that one can’t get a feeling of any wrong doing on part of the elder teacher and the young student – both wanted something and they got it. Is that wrong? In terms of the law, yes. But if one looks at the relationship shown, then things seemed appropriate.
Thursday, January 11, 2007
Asian flavours kick off 2007
There is something to be said for continuity. A trip to Asia marked the end of 2006 and the final film I saw as the year ended was the Korean flick The Host on Dec 31. So it shouldn't be a surprise that 3 Asian films were the first movies I saw this year. Of the three, one was a film that I wanted to see for more than 6 months, a second was a movie that I had heard about but was not eager to see and the third was a repeat viewing of a personal favourite from last year.
Invisible Waves (directed by Pen-Ek Ratanaruang): Rating 8.5/10
I had wanted to get this film for CIFF last year and attempted to get it for our upcoming Pan-Asian film festival this year but the producers never replied to our queries. So I was delighted to finally get a chance to see this film as it was released on DVD.
In the end, it is a worthy watch. Ofcourse, since Christopher Doyle shot the film, there were was never a question about the film's visual beauty. Just like Pen-Ek's previous film, Last Life in the Universe, Doyle has perfectly chosen an appropriate palette to match the story's somber mood. The story is that of revenge & murder yet the peaceful mood projected by the film makes one forget that. On that of that, Pen-Ek has ensured the film has no un-neccesary extras or dialogues. The only people one sees on screen are meant to be there. Streets, bars and ships are empty, devoid of any life whatsoever. As a result, we can spend our time focusing on only the characters on hand and drawing our own conclusions.
The main character, a chef (played by Asano Tadanobu), commits a murder hoping that is his ticket to freedom. However, a murder is never that easy. Especially, when the chef has made the mistake of shattering the invisible yet firm boundaries of trust and loyalty. After the chef has committed the murder, his boss, who had hired him for the kill, asks the chef to leave Macau for Phuket. But trouble follows the Chef onto the ship and eventually in Phuket. How the chef evades trouble and returns back for revenge forms the final hour of the story.
The peaceful background score and the earthy visual colors give the film a very dreamy feel. Even though the film drags on near the end, if one is sucked in by the leisurely mood, one won't notice the time ticking away. But if is not enchanted by the film's look, then the last 30 minutes might feel like the work of an over-indulgent self-absorbed director. Either way, there is something to be said for the style that Pen-Ek brings to his films and how Christopher Doyle perfectly manages to give the visual look to accomplish Pen-Ek's vision.
Just like in his previous film, Pen-Ek has chosen the Japanese actor Asano for the lead character. Asano is a worthy choice as the chef (Kyoji) because he only shows the barest emotion required of his character. Kyoji is calm before the murder, while he is having an affair, after the brutal killing and unfazed despite being mugged and beaten up in Phuket. All the characters fit with the film's framework. There is a tiny but interesting cameo for Eric Tsang who normally is found in Hong Kong gangster movies. In the end, while I liked this film, I am still not fully convinced this is a great work. It is certainly good but the deliberate omission of extra characters and background noise makes one feel that they are watching a very controlled film.
Exiled (directed by Johnny To): Rating 7.5/10
Macau. Two gangsters knock on a door. A woman opens the door. The men are looking for Wo. The woman informs them that no one by that name lives there and closes the door. A few minutes later, two more gangsters arrive asking the same question. Once again, the woman slams the door and the men leave. These two men run into the other two men waiting half a block down. They all know each other and not surprised to find themselves at this location. The woman looks nervously from her window while taking care of her baby. A few moments later, a truck packed with furniture appears. The driver is none other than Wo, who sees the four men but continues to drive on. He opens the door to his apartment, followed by one man from each of the pair. The three go upstairs. The apartment is mostly empty but Wo bends down to open the bottom drawer of a cupboard and takes out a gun. He starts to fill in the six bullets. The two men empty out 6 bullets from their multi-cartridge weapon so that they are all on level terms with 6 bullets each. Then the three face off, pointing the gun towards each other (the scene is inspired no doubt from Reservoir Dogs). A moment passes by, the wind blows through the apartment and then poetically, the bullets start flying. After the firing had ended, Wo’s wife enters telling Wo that the baby needs food. Wo looks towards the other two and asks if they can sit down and talk. But one of the men says that there is no furniture. The next few scenes can only take place in a Johnny To movie. The five men (Wo + the 4 gangsters) empty all the furniture from the truck, fix the place up, cook fresh food and all sit down together to have dinner.
It turns out all the men know each other -- two men were sent to kill Wo because he had tried to knock off the big boss and two other came to inform Wo out of loyalty. Eventually, the five men sit down and chat regarding Wo’s future. The next morning, the five go off in search of a final job. The rest of the movie is as stylish as most Johnny To films but unlike the Election series, these movies contain a bit of dry humor like that present in To’s P.T.U film. With a lot of the actors being the same from those movies, at times the movie feels like similarly covered ground. What sets this apart from past To films is the choice of Macau and the two stylish gun shoot out scenes, the second one being near the end. For kicks, a Red Bull can is tossed in the air while on the ground, the bullets fly. I have not seen the original Mission film which might have been a prequel for this film as it contained the same actors. If I had not seen enough Johnny To movies in the past, I might have liked this film more.
Khoshla Ka Ghosla (directed by Dibakar Banerjee): Rating 10/10
Very rarely do I see a movie more than once but I had see Khosla Ka Ghosla again, a film I consider as one of the best films of 2006. I had helped book this film for CIFF last year just on instinct that it might be a good movie given the star cast of Boman Irani and Anupam Kher. I barely knew the story and there were no reviews of the film as no one had seen it. The movie was to be released in India on September 22 and it showed at our festival on Monday, Sept 25. The word from India was very good on the opening weekend and that helped ease my worries. Still, I walked nervously into the theatre on Monday evening. I was still nervous during the film’s opening 15 minutes but gradually I eased into the film, got comfortable and duly loved the film.
But on this second viewing, I was able to give this film my undivided attention. And I loved the film even more. It is a perfect movie from all accounts. Not only is the story shockingly realistic, the dialogues are very true of a Punjabi family living in Delhi. One has to listen carefully to how the dialogues are delivered (the tone) and pay attention to the little expressions and acts of fidgeting that signify a character’s mental state (example: Anupam Kher’s discomfort at bringing home a bottle of alcohol). I can’t think of a finer North Indian movie that I have seen in the last decade than this one. The complete cast is excellent with Anupam Kher, Ranvir Shorey, Navin Nischol and Boman Irani giving vintage performances. Even though I have singled out these few actors, the entire ensemble cast & crew deserves credit for giving this story life (Jaideep Sahni wrote this gem).
Despite this movie’s virtues, I still can’t help but ask the question: who will watch this movie? Most Indians used to Bollywood song and dance films probably skipped this comedy as there are no songs, no melodrama (Even though, the soundtrack contains a very lively pulsating Punjabi dance number). And will this movie get distribution so non-Indians can get a chance to see this? I just hope that word gets out and people try to watch this film. The positive thing is a lot of the people I talked with in India last month loved it. I just hope more such Indian movies are made and get wider distribution. Along with Being Cyrus, Khosla Ka Ghosla is proof that good Indian movies can be made within a branch of the nonsense studio system with Bollywood actors. Both these worthy films were released in 2006 and both were works by first time directors. Boman Irani was the one common actor in both films and along with his performance in Lago Raho Munnabhai cemented his status as one of the best Indian actors working in the film industry today.
Invisible Waves (directed by Pen-Ek Ratanaruang): Rating 8.5/10
I had wanted to get this film for CIFF last year and attempted to get it for our upcoming Pan-Asian film festival this year but the producers never replied to our queries. So I was delighted to finally get a chance to see this film as it was released on DVD.
In the end, it is a worthy watch. Ofcourse, since Christopher Doyle shot the film, there were was never a question about the film's visual beauty. Just like Pen-Ek's previous film, Last Life in the Universe, Doyle has perfectly chosen an appropriate palette to match the story's somber mood. The story is that of revenge & murder yet the peaceful mood projected by the film makes one forget that. On that of that, Pen-Ek has ensured the film has no un-neccesary extras or dialogues. The only people one sees on screen are meant to be there. Streets, bars and ships are empty, devoid of any life whatsoever. As a result, we can spend our time focusing on only the characters on hand and drawing our own conclusions.
The main character, a chef (played by Asano Tadanobu), commits a murder hoping that is his ticket to freedom. However, a murder is never that easy. Especially, when the chef has made the mistake of shattering the invisible yet firm boundaries of trust and loyalty. After the chef has committed the murder, his boss, who had hired him for the kill, asks the chef to leave Macau for Phuket. But trouble follows the Chef onto the ship and eventually in Phuket. How the chef evades trouble and returns back for revenge forms the final hour of the story.
The peaceful background score and the earthy visual colors give the film a very dreamy feel. Even though the film drags on near the end, if one is sucked in by the leisurely mood, one won't notice the time ticking away. But if is not enchanted by the film's look, then the last 30 minutes might feel like the work of an over-indulgent self-absorbed director. Either way, there is something to be said for the style that Pen-Ek brings to his films and how Christopher Doyle perfectly manages to give the visual look to accomplish Pen-Ek's vision.
Just like in his previous film, Pen-Ek has chosen the Japanese actor Asano for the lead character. Asano is a worthy choice as the chef (Kyoji) because he only shows the barest emotion required of his character. Kyoji is calm before the murder, while he is having an affair, after the brutal killing and unfazed despite being mugged and beaten up in Phuket. All the characters fit with the film's framework. There is a tiny but interesting cameo for Eric Tsang who normally is found in Hong Kong gangster movies. In the end, while I liked this film, I am still not fully convinced this is a great work. It is certainly good but the deliberate omission of extra characters and background noise makes one feel that they are watching a very controlled film.
Exiled (directed by Johnny To): Rating 7.5/10
Macau. Two gangsters knock on a door. A woman opens the door. The men are looking for Wo. The woman informs them that no one by that name lives there and closes the door. A few minutes later, two more gangsters arrive asking the same question. Once again, the woman slams the door and the men leave. These two men run into the other two men waiting half a block down. They all know each other and not surprised to find themselves at this location. The woman looks nervously from her window while taking care of her baby. A few moments later, a truck packed with furniture appears. The driver is none other than Wo, who sees the four men but continues to drive on. He opens the door to his apartment, followed by one man from each of the pair. The three go upstairs. The apartment is mostly empty but Wo bends down to open the bottom drawer of a cupboard and takes out a gun. He starts to fill in the six bullets. The two men empty out 6 bullets from their multi-cartridge weapon so that they are all on level terms with 6 bullets each. Then the three face off, pointing the gun towards each other (the scene is inspired no doubt from Reservoir Dogs). A moment passes by, the wind blows through the apartment and then poetically, the bullets start flying. After the firing had ended, Wo’s wife enters telling Wo that the baby needs food. Wo looks towards the other two and asks if they can sit down and talk. But one of the men says that there is no furniture. The next few scenes can only take place in a Johnny To movie. The five men (Wo + the 4 gangsters) empty all the furniture from the truck, fix the place up, cook fresh food and all sit down together to have dinner.
It turns out all the men know each other -- two men were sent to kill Wo because he had tried to knock off the big boss and two other came to inform Wo out of loyalty. Eventually, the five men sit down and chat regarding Wo’s future. The next morning, the five go off in search of a final job. The rest of the movie is as stylish as most Johnny To films but unlike the Election series, these movies contain a bit of dry humor like that present in To’s P.T.U film. With a lot of the actors being the same from those movies, at times the movie feels like similarly covered ground. What sets this apart from past To films is the choice of Macau and the two stylish gun shoot out scenes, the second one being near the end. For kicks, a Red Bull can is tossed in the air while on the ground, the bullets fly. I have not seen the original Mission film which might have been a prequel for this film as it contained the same actors. If I had not seen enough Johnny To movies in the past, I might have liked this film more.
Khoshla Ka Ghosla (directed by Dibakar Banerjee): Rating 10/10
Very rarely do I see a movie more than once but I had see Khosla Ka Ghosla again, a film I consider as one of the best films of 2006. I had helped book this film for CIFF last year just on instinct that it might be a good movie given the star cast of Boman Irani and Anupam Kher. I barely knew the story and there were no reviews of the film as no one had seen it. The movie was to be released in India on September 22 and it showed at our festival on Monday, Sept 25. The word from India was very good on the opening weekend and that helped ease my worries. Still, I walked nervously into the theatre on Monday evening. I was still nervous during the film’s opening 15 minutes but gradually I eased into the film, got comfortable and duly loved the film.
But on this second viewing, I was able to give this film my undivided attention. And I loved the film even more. It is a perfect movie from all accounts. Not only is the story shockingly realistic, the dialogues are very true of a Punjabi family living in Delhi. One has to listen carefully to how the dialogues are delivered (the tone) and pay attention to the little expressions and acts of fidgeting that signify a character’s mental state (example: Anupam Kher’s discomfort at bringing home a bottle of alcohol). I can’t think of a finer North Indian movie that I have seen in the last decade than this one. The complete cast is excellent with Anupam Kher, Ranvir Shorey, Navin Nischol and Boman Irani giving vintage performances. Even though I have singled out these few actors, the entire ensemble cast & crew deserves credit for giving this story life (Jaideep Sahni wrote this gem).
Despite this movie’s virtues, I still can’t help but ask the question: who will watch this movie? Most Indians used to Bollywood song and dance films probably skipped this comedy as there are no songs, no melodrama (Even though, the soundtrack contains a very lively pulsating Punjabi dance number). And will this movie get distribution so non-Indians can get a chance to see this? I just hope that word gets out and people try to watch this film. The positive thing is a lot of the people I talked with in India last month loved it. I just hope more such Indian movies are made and get wider distribution. Along with Being Cyrus, Khosla Ka Ghosla is proof that good Indian movies can be made within a branch of the nonsense studio system with Bollywood actors. Both these worthy films were released in 2006 and both were works by first time directors. Boman Irani was the one common actor in both films and along with his performance in Lago Raho Munnabhai cemented his status as one of the best Indian actors working in the film industry today.
Monday, January 01, 2007
Best Films of 2006
It was a thoroughly satisfying personal film viewing year. I had more chances to watch festival films than previous years, while at the same time conducting personal film festivals (World Cup Film festival in the summer) or having theme festivals gifted to me (January 2006’s a tribute to Jean Cocteau and a Soccer Film festival for my birthday). In the last 10 years, I made the least trips to a multiplex this year and stayed away from quite a few hyped up Hollywood titles.
I can’t claim to pick an objective top ten as that is just impossible. So I compiled a short-list of all the movies that I loved watching this past year, from which I picked ten out. Overall, it was a truly rich year for movies and the diversity of the films is reflected in the choices. Just a note on the film selections: I only selected movies that I saw in 2006 because they were either released in the theatre this year (commercially or at a film festival) or released on DVD in 2006. Some movies in this list were released in film festivals last year but never made it out to Canada or to my city. Likewise, my favourite film of 2005 was a movie that was Brazil’s official entry to the Oscars in 2006 -- Cinema, Aspirins and Vultures was the finest film I had seen in 2005 thanks to the London Film Festival. However, that film won’t be out in most North American theatres until early 2007. Also, I separated the docs from the features. Each film title is followed by country name and director name in the bracket. So without further delay, here is the list:
Top Ten films of 2006 (in order of preference) :
1) The Death of Mr. Lazarescu (Romania, Cristi Puiu)
2) Dosar (India, Rituparno Ghosh)
3) El Violín (Mexico, Francisco Vargas Quevedo)
4) Tzameti (France/Georgia, Géla Babluani)
5) The Bet Collector (Philippines, Jeffrey Jeturian)
6) Khosla Ka Ghosla (India, Dibakar Banerjee)
7) The Descent (UK, Neil Marshall)
8) The Lives of Others (Germany, Florian Henckel Von Donnersmarck)
9) Election 2 (Hong Kong, Johnny To)
10) Sympathy for Lady Vengeance (South Korea, Park Chan-wook)
Remaining short-listed films (in no particular order):
Being Cyrus (India, Homi Adajania), Paradise Now (Palestine, Hany Abu-Assad), Still Life (China, Jia Zhangke), The King and the Clown (South Korea, Lee Jun-Ik), La Moustache (France, Emmanuel Carrère), A Scanner Darkly (USA, Richard Linklater), A Prairie Home Companion (USA, Robert Altman), Requiem (Germany, Hans-Christian Schmid), The Host (Korea, Bong Joon-ho)
Note on Jan 2: I forgot that Three Times (Taiwan, Hsiao-hsien Hou) should also be added to this year's short-list. I incorrectly thought that I had seen this film last year.
Top Docs of the year (in order of choice):
1) Iraq in Fragments (USA/Iraq, James Longley)
2) Bombay Calling (Canada, Ben Addelman, Samir Mallal)
3) Riding Solo to the Top of the World (India, Gaurav Jani)
4) Mystic Ball (Canada, Greg Hamilton)
5) Mo & Me (Kenya, Roger Mills)
6) The Trials of Darryl Hunt (USA, Ricki Stern & Anne Sundberg)
I can’t claim to pick an objective top ten as that is just impossible. So I compiled a short-list of all the movies that I loved watching this past year, from which I picked ten out. Overall, it was a truly rich year for movies and the diversity of the films is reflected in the choices. Just a note on the film selections: I only selected movies that I saw in 2006 because they were either released in the theatre this year (commercially or at a film festival) or released on DVD in 2006. Some movies in this list were released in film festivals last year but never made it out to Canada or to my city. Likewise, my favourite film of 2005 was a movie that was Brazil’s official entry to the Oscars in 2006 -- Cinema, Aspirins and Vultures was the finest film I had seen in 2005 thanks to the London Film Festival. However, that film won’t be out in most North American theatres until early 2007. Also, I separated the docs from the features. Each film title is followed by country name and director name in the bracket. So without further delay, here is the list:
Top Ten films of 2006 (in order of preference) :
1) The Death of Mr. Lazarescu (Romania, Cristi Puiu)
2) Dosar (India, Rituparno Ghosh)
3) El Violín (Mexico, Francisco Vargas Quevedo)
4) Tzameti (France/Georgia, Géla Babluani)
5) The Bet Collector (Philippines, Jeffrey Jeturian)
6) Khosla Ka Ghosla (India, Dibakar Banerjee)
7) The Descent (UK, Neil Marshall)
8) The Lives of Others (Germany, Florian Henckel Von Donnersmarck)
9) Election 2 (Hong Kong, Johnny To)
10) Sympathy for Lady Vengeance (South Korea, Park Chan-wook)
Remaining short-listed films (in no particular order):
Being Cyrus (India, Homi Adajania), Paradise Now (Palestine, Hany Abu-Assad), Still Life (China, Jia Zhangke), The King and the Clown (South Korea, Lee Jun-Ik), La Moustache (France, Emmanuel Carrère), A Scanner Darkly (USA, Richard Linklater), A Prairie Home Companion (USA, Robert Altman), Requiem (Germany, Hans-Christian Schmid), The Host (Korea, Bong Joon-ho)
Note on Jan 2: I forgot that Three Times (Taiwan, Hsiao-hsien Hou) should also be added to this year's short-list. I incorrectly thought that I had seen this film last year.
Top Docs of the year (in order of choice):
1) Iraq in Fragments (USA/Iraq, James Longley)
2) Bombay Calling (Canada, Ben Addelman, Samir Mallal)
3) Riding Solo to the Top of the World (India, Gaurav Jani)
4) Mystic Ball (Canada, Greg Hamilton)
5) Mo & Me (Kenya, Roger Mills)
6) The Trials of Darryl Hunt (USA, Ricki Stern & Anne Sundberg)
Movies on a Plane and Dec 2006 Wrap-up
So after a year of watching mostly festival movies, it was perhaps appropriate that the year ended with a flux of commercial films and that too mostly Hollywood. I suppose a balance was restored with the wealth of rich movies seen throughout 2006 with commercial junk in Dec. Junk is necessary to make one appreciate the virtue of quality cinema. That being said, not all the commercial stuff was that bad. In order of viewing:
Dec 1 & Dec 2: Movies on a Plane
In the past, Emirates had a few movie channels for people in Economy class but this was the first time I got to enjoy their full movie library. Almost 120 movies to choose from. The good thing is I managed to see some movies that I wanted to see for a while but I also saw some forgetful stuff.
Not sure what possessed me to watch this as the first film. Nothing good to say about this. This is terrible even from the clichéd high school romance flicks standards.
I ended up watching this film over two flights – London to Dubai & Dubai to New Delhi. It is a worthy watch in terms of the global warming content talked about. Although I wish this was made as an out and out documentary. A majority of the film is simply focusing on a lecture that Al Gore gave and no matter the importance of the material, the lecture does get a bit dry to watch. Nonetheless the message is grave and I am glad this film was made because despite all the evidence, people continue to ignore all the warning signs – For example, North Americans aren’t going to let go of their gigantic gas guzzling vehicles anytime soon. Hopefully, a movie and that too featuring Al Gore will give this topic more media time. Maybe the politicians will ignore the money from energy companies and think independently one day.
I missed a few free screenings of this film in the summer and I delayed watching it on DVD. So stuck at a few thousand feet above the ground, I finally got the chance to watch it. It is a good movie even though I don’t see what all the fuss is about. Sure, the acting is very good and the script packed with witty dialogues but the film is still following the pattern of recent dysfunctional American characters. I quite liked the ending when the family came together to celebrate their differences.
I can’t rate this film as I never finished it. On the first flight, I got to the 40 minute mark when the video was shut down almost an hour in advance in preparation for landing. The second time around, I made it to the 70 minute mark but once again, the video was shut in preparation for landing. Ofcourse, I don’t consider it a loss not having finished this film. There are some very realistic couple clashes scenes in the film (for example, the argument about wanting to do dishes vs sitting in front of the tv) but other than those, it felt like a run of the mill flick.
Robert Altman’s last film is a perfect ending to his career. My outlook of this film would have been different if I had seen this movie in the summer as I had originally planned as opposed to seeing it after the legendary director suddenly passed away a few months back. After his death, a news item reported that while shooting for this film, Altman knew he was sick. So I wonder how much that influenced him during this movie’s filming because death hangs over this film constantly. From the opening to the closing shot, the movie feels like a final work, a sign-off film. In each scene, death is hovering over the characters, waiting to usher them off-stage. Did Altman feel likewise about himself and his career? Now, if I had seen this film in the summer I would not have focused on this aspect of the story but now, I can’t avoid making this comparison. Whatever his mood, this was a perfect end to his career. Thank you Mr. Altman for this final treasure!
19 days went by before I saw another movie, a record in the last 4 years.
On the evening of Dec 21, I entered the Paragon Theatre in Bangkok’s Siam Square. It was the best movie theatre I had been in my life. How I wish, I had been able to see a movie worthy of the grandeur that this cinema offered. The Holiday was a typical feel good holiday movie that had shades of Love Actually suffering with a Bridget Jones hangover. Nonetheless, it was easy viewing which allowed me to slip back in my seat.
I didn’t have to wait long to see another film. This time, it was the KLCC complex theatre at the breath-taking Petronas Towers in Kuala Lumpur on Dec 23rd. This is clearly one of the most breathing taking visual films of the year, however the paper thin story can’t hold up this big budget disaster. I am really beginning to miss Zhang’s lesser budget flicks (pre 2000) where he was able to focus on the story. I loved 2002’s Hero but 2004’s House of Flying Daggers suffered from a weak love story. Curse of the Golden Flower has a very impressive first hour but after that the movie ends up being a joke. The CGI armies are easy to pick-out, the action scenes laughable (B-movie almost) and the film continuity and editing is choppy. It seems little thought was given to the second half of the film and scenes were rushed so as to get the movie completed on time.
After directing classy South Indian films, Priyadarshan entered Bollywood with a bang – 1997’s Virasat was one of the best movies the song & dance industry has seen in the last decade. Ofcourse, partial credit for that goes to Kamal Hassan who penned the original story for 1992’s Thevar Magan. After that stellar debut, Priyadarshan had a mixed bag of results before coming up with a gem of comedy in 2000’s Hera Pheri. Six years on, people still continue to talk about that movie with warmth and love. Ofcourse, that film also gave Priyadarshan and his screen-writer Neeraj Vora an opportunity to spawn off an alternate fast-paced comedy genre compared to the crude formula comedies of David Dhawan. Priyadarshan brought out the best of Paresh Rawal and Akshay Kumar as the two formed an intelligent comedic partnership as opposed to the antics of Govinda in Dhawan’s talkies. I always felt that Priyadarshan was making more intelligent versions of Govinda comedies and was waiting for him to direct Govinda alongside Paresh Rawal and Akshay Kumar. I finally got my wish and with some expectation I stepped into the theatre on Dec 27th at New Delhi’s PVR theatre.
Sure, there were some genuinely funny moments and it is clear that the best parts of the movie are those which involved clever, fast-paced dialogues in absurd situations. But when it comes to the story, the movie is a complete failure. It is too easy to find faults with the plot but atleast along the way, there are a few laughs to be had. Now, it might make sense for Priyadarshan and Neeraj Vora to only focus on a simpler story which could fully exploit the rich dialogues and crazy scenarios. Still, I didn’t mind seeing this movie just for the few funny moments. But I can’t help being disappointed at the overall effort. How can any director make such a joke of a film? Did David Dhawan walk onto the set and kidnap Priyadarshan and make this film? It certainly feels like it at times.
I was expecting to access Emirates movie library on the two flights back on Dec 29th and Dec 30th. But I was to be disappointed as the type of flights I was in had the old entertainment system with only a handful of pre-selected movies showing on each seat’s personal tv screen. I only watched one movie and that too this average comedy which combined relationship problems with super hero powers. Yawn…
I had wanted to see this movie for a while but I was never able to get hold of it. Getting a VCD/DVD in India proved difficult as well. So I was quite happy to find a VCD in Singapore. The film is nothing special, more like a good short extended to a feature length. Rehaan Engineer plays a Xen, a hair stylist who can hear people’s thoughts when cutting their hair. That concept does lead to an interesting film but overall, the movie suffers from problems with other independent Indian English movies – poor acting and average productions values.
I finally managed to see this film on the last day of the year (Dec 31st). My expectations of the film were different. I expected that the monster in the film won’t be seen until the end or maybe not even seen at all. So I was quite surprised to see the crazy mutated creature 15 minutes into the movie. In that regard, the film feels like a throw back to the old Godzilla movies and the people running, screaming scenes are a testament to that. But Bong Joon-ho makes this a cut above the genre monster movies and focuses on the characters (a family of four) instead. Also, there are beautiful jabs at America and people’s lack of respect for nature and the environment. A nice way to end film viewing for 2006!
Dec 1 & Dec 2: Movies on a Plane
In the past, Emirates had a few movie channels for people in Economy class but this was the first time I got to enjoy their full movie library. Almost 120 movies to choose from. The good thing is I managed to see some movies that I wanted to see for a while but I also saw some forgetful stuff.
John Tucker Must Die: Rating 5/10
Not sure what possessed me to watch this as the first film. Nothing good to say about this. This is terrible even from the clichéd high school romance flicks standards.
An Inconvenient Truth: Rating 7.5/10
I ended up watching this film over two flights – London to Dubai & Dubai to New Delhi. It is a worthy watch in terms of the global warming content talked about. Although I wish this was made as an out and out documentary. A majority of the film is simply focusing on a lecture that Al Gore gave and no matter the importance of the material, the lecture does get a bit dry to watch. Nonetheless the message is grave and I am glad this film was made because despite all the evidence, people continue to ignore all the warning signs – For example, North Americans aren’t going to let go of their gigantic gas guzzling vehicles anytime soon. Hopefully, a movie and that too featuring Al Gore will give this topic more media time. Maybe the politicians will ignore the money from energy companies and think independently one day.
Little Miss Sunshine: Rating 8/10
I missed a few free screenings of this film in the summer and I delayed watching it on DVD. So stuck at a few thousand feet above the ground, I finally got the chance to watch it. It is a good movie even though I don’t see what all the fuss is about. Sure, the acting is very good and the script packed with witty dialogues but the film is still following the pattern of recent dysfunctional American characters. I quite liked the ending when the family came together to celebrate their differences.
The Break-Up
I can’t rate this film as I never finished it. On the first flight, I got to the 40 minute mark when the video was shut down almost an hour in advance in preparation for landing. The second time around, I made it to the 70 minute mark but once again, the video was shut in preparation for landing. Ofcourse, I don’t consider it a loss not having finished this film. There are some very realistic couple clashes scenes in the film (for example, the argument about wanting to do dishes vs sitting in front of the tv) but other than those, it felt like a run of the mill flick.
A Prairie Home Companion: Rating 10/10
Robert Altman’s last film is a perfect ending to his career. My outlook of this film would have been different if I had seen this movie in the summer as I had originally planned as opposed to seeing it after the legendary director suddenly passed away a few months back. After his death, a news item reported that while shooting for this film, Altman knew he was sick. So I wonder how much that influenced him during this movie’s filming because death hangs over this film constantly. From the opening to the closing shot, the movie feels like a final work, a sign-off film. In each scene, death is hovering over the characters, waiting to usher them off-stage. Did Altman feel likewise about himself and his career? Now, if I had seen this film in the summer I would not have focused on this aspect of the story but now, I can’t avoid making this comparison. Whatever his mood, this was a perfect end to his career. Thank you Mr. Altman for this final treasure!
19 days went by before I saw another movie, a record in the last 4 years.
The Holiday: Rating 7/10
On the evening of Dec 21, I entered the Paragon Theatre in Bangkok’s Siam Square. It was the best movie theatre I had been in my life. How I wish, I had been able to see a movie worthy of the grandeur that this cinema offered. The Holiday was a typical feel good holiday movie that had shades of Love Actually suffering with a Bridget Jones hangover. Nonetheless, it was easy viewing which allowed me to slip back in my seat.
Curse of the Golden Flower (directed by Zhang Yimou): Rating 7.5/10
I didn’t have to wait long to see another film. This time, it was the KLCC complex theatre at the breath-taking Petronas Towers in Kuala Lumpur on Dec 23rd. This is clearly one of the most breathing taking visual films of the year, however the paper thin story can’t hold up this big budget disaster. I am really beginning to miss Zhang’s lesser budget flicks (pre 2000) where he was able to focus on the story. I loved 2002’s Hero but 2004’s House of Flying Daggers suffered from a weak love story. Curse of the Golden Flower has a very impressive first hour but after that the movie ends up being a joke. The CGI armies are easy to pick-out, the action scenes laughable (B-movie almost) and the film continuity and editing is choppy. It seems little thought was given to the second half of the film and scenes were rushed so as to get the movie completed on time.
Bhagam Bhag(directed by Priyadarshan): Rating 5.5/10
After directing classy South Indian films, Priyadarshan entered Bollywood with a bang – 1997’s Virasat was one of the best movies the song & dance industry has seen in the last decade. Ofcourse, partial credit for that goes to Kamal Hassan who penned the original story for 1992’s Thevar Magan. After that stellar debut, Priyadarshan had a mixed bag of results before coming up with a gem of comedy in 2000’s Hera Pheri. Six years on, people still continue to talk about that movie with warmth and love. Ofcourse, that film also gave Priyadarshan and his screen-writer Neeraj Vora an opportunity to spawn off an alternate fast-paced comedy genre compared to the crude formula comedies of David Dhawan. Priyadarshan brought out the best of Paresh Rawal and Akshay Kumar as the two formed an intelligent comedic partnership as opposed to the antics of Govinda in Dhawan’s talkies. I always felt that Priyadarshan was making more intelligent versions of Govinda comedies and was waiting for him to direct Govinda alongside Paresh Rawal and Akshay Kumar. I finally got my wish and with some expectation I stepped into the theatre on Dec 27th at New Delhi’s PVR theatre.
Sure, there were some genuinely funny moments and it is clear that the best parts of the movie are those which involved clever, fast-paced dialogues in absurd situations. But when it comes to the story, the movie is a complete failure. It is too easy to find faults with the plot but atleast along the way, there are a few laughs to be had. Now, it might make sense for Priyadarshan and Neeraj Vora to only focus on a simpler story which could fully exploit the rich dialogues and crazy scenarios. Still, I didn’t mind seeing this movie just for the few funny moments. But I can’t help being disappointed at the overall effort. How can any director make such a joke of a film? Did David Dhawan walk onto the set and kidnap Priyadarshan and make this film? It certainly feels like it at times.
My Super Ex-girlfriend: Rating 6/10
I was expecting to access Emirates movie library on the two flights back on Dec 29th and Dec 30th. But I was to be disappointed as the type of flights I was in had the old entertainment system with only a handful of pre-selected movies showing on each seat’s personal tv screen. I only watched one movie and that too this average comedy which combined relationship problems with super hero powers. Yawn…
Everybody Says I’m Fine (2001, directed by Rahul Bose): Rating 6.5/10
I had wanted to see this movie for a while but I was never able to get hold of it. Getting a VCD/DVD in India proved difficult as well. So I was quite happy to find a VCD in Singapore. The film is nothing special, more like a good short extended to a feature length. Rehaan Engineer plays a Xen, a hair stylist who can hear people’s thoughts when cutting their hair. That concept does lead to an interesting film but overall, the movie suffers from problems with other independent Indian English movies – poor acting and average productions values.
The Host (directed by Bong Joon-ho): Rating 8.5/10
I finally managed to see this film on the last day of the year (Dec 31st). My expectations of the film were different. I expected that the monster in the film won’t be seen until the end or maybe not even seen at all. So I was quite surprised to see the crazy mutated creature 15 minutes into the movie. In that regard, the film feels like a throw back to the old Godzilla movies and the people running, screaming scenes are a testament to that. But Bong Joon-ho makes this a cut above the genre monster movies and focuses on the characters (a family of four) instead. Also, there are beautiful jabs at America and people’s lack of respect for nature and the environment. A nice way to end film viewing for 2006!
Thursday, December 28, 2006
End of 2006 Blitz
India, Singapore, Vietnam, Cambodia, Laos, Thailand, Malaysia and U.A.E (still to visit later today) -- 8 countries, 14 cities, 29 days. No I was not in the amazing race but essentially I spent a month away from work and movies. In between the 5-6 movies seen out of a dazzling collection of 120 on my 2 Emirates flights out of London (Dec 1) and Dubai (Dec 2) and the 3 commerical films seen in the last week in Bangkok, KL & Delhi, I had gone almost 19 days without having seen a single minute of any movie. And you know, I didn't miss it one bit. Normally, movie withdrawl would have set in. But when one is awake at 5:20 am in the morning standing in front of the imposing Angkor Wat temples which are still shrouded in darkness, the thought of seeing a film does not register really. And a movie is the farthest thing from one'e mind while carefully trying to navigate through Saigon's poetic motorcyle packed streets.
Ok, I admit I realized the pure beauty of Jia Zhang Ke's Still Life while wandering through South East Asia. I now rate that film even higher that I had originally done. But other than a few such reflections, the lack of movies was not a problem. Ofcourse, good food, challenging venues and excellent local Asian literature kept me occupied. But as I made my way near the end of the trip, the metropolitan cities of Bangkok, Kuala Lumpur and New Delhi offered plenty of films to choose from and that too in interesting theatrical venues. The Paragon theatre at Bangkok has to be the best theatre I have ever sat in my life and how I wished that theatre was the venue for the countless festival movies I have seen over the past 3 years. Watching the commerical sugar-coated The Holiday was not the greatest choice but that was the only reasonable selection given my time restrictions -- I had to select a movie which didn't end after the last trains because I was in no mood to bargain my way back to the hotel with the tuk-tuk's or taxis.
The visually stunning but disappointing The Curse of the Golden Flower was once again the only choice available at KLCC theatre located on the same buildings as the stylish Petronas Towers. It was amusing to watch such a beautiful failure of a film, a movie that had tons of style but zero substance. And finally, a Bollywood movie had to been seen in New Delhi. But once again, there was only one option available in Priyadarshan's Bhagam Bhag which was hugely disappointing. Not really worth the price of a ticket but still I had to pick one movie eand this was the only one which I knew I could sit through till the end.
Now, hopefully I can get to finish the year in style with a few more selections from the jam packed Emirates on-flight library (yes it is available for us working folk sitting in Economy class) which has a mix of Indie, classics, Hollywood, Bollywood, Arab cinema, Japanese, Chinese and some South East Asian films as well.
I also plan to come up with a best of the year selection list. But unlike other years, I didn't get to see a comprehensive list of 2006 films. I spent a lot more time previewing and selection movie titles for 2 film festivals this year and quite a few of selections were films made in 2005 and which were still available for the festival circuit. So technically, these films don't count as 2006.
Anyway, I was quite fortunate to sample a few tasty international cinematic delicacies this year. And the added flavour of the Asian trip was a fitting way to end the year. 11 months of constant film watching followed by one month of rest, relaxation and contemplation....What a year!
Ok, I admit I realized the pure beauty of Jia Zhang Ke's Still Life while wandering through South East Asia. I now rate that film even higher that I had originally done. But other than a few such reflections, the lack of movies was not a problem. Ofcourse, good food, challenging venues and excellent local Asian literature kept me occupied. But as I made my way near the end of the trip, the metropolitan cities of Bangkok, Kuala Lumpur and New Delhi offered plenty of films to choose from and that too in interesting theatrical venues. The Paragon theatre at Bangkok has to be the best theatre I have ever sat in my life and how I wished that theatre was the venue for the countless festival movies I have seen over the past 3 years. Watching the commerical sugar-coated The Holiday was not the greatest choice but that was the only reasonable selection given my time restrictions -- I had to select a movie which didn't end after the last trains because I was in no mood to bargain my way back to the hotel with the tuk-tuk's or taxis.
The visually stunning but disappointing The Curse of the Golden Flower was once again the only choice available at KLCC theatre located on the same buildings as the stylish Petronas Towers. It was amusing to watch such a beautiful failure of a film, a movie that had tons of style but zero substance. And finally, a Bollywood movie had to been seen in New Delhi. But once again, there was only one option available in Priyadarshan's Bhagam Bhag which was hugely disappointing. Not really worth the price of a ticket but still I had to pick one movie eand this was the only one which I knew I could sit through till the end.
Now, hopefully I can get to finish the year in style with a few more selections from the jam packed Emirates on-flight library (yes it is available for us working folk sitting in Economy class) which has a mix of Indie, classics, Hollywood, Bollywood, Arab cinema, Japanese, Chinese and some South East Asian films as well.
I also plan to come up with a best of the year selection list. But unlike other years, I didn't get to see a comprehensive list of 2006 films. I spent a lot more time previewing and selection movie titles for 2 film festivals this year and quite a few of selections were films made in 2005 and which were still available for the festival circuit. So technically, these films don't count as 2006.
Anyway, I was quite fortunate to sample a few tasty international cinematic delicacies this year. And the added flavour of the Asian trip was a fitting way to end the year. 11 months of constant film watching followed by one month of rest, relaxation and contemplation....What a year!
Thursday, November 30, 2006
End of November wrap-up
Seven films ended this month’s movie watching. No specific criteria was used to pick the films but just an assorted collection of English and Foreign movies. Not a bad set in the end.
It took me almost 14 years to get around to watch this film. However, this was one of those movies that I knew so much about despite not having seen it. I had heard the songs, watched the music videos and had seen quite a few enough movie clips that I didn’t feel a need to see it. But I was repeatedly reminded that this movie had to be seen. I am glad for all those reminders because this is indeed a movie that has to be seen. When this film first came out, not many in Northern India had heard of A.R Rahman, Santosh Sivan, P.K Mishra or even Mani Ratnam. But Roja changed all that. Rahman’s music has truly reached the far corners of the world, past the Indian borders; P.K Mishra’s offbeat lyrics have generated a lot of musical hits; Santosh Sivan’s cinematography has garnered a few awards for him on the global scene and he also tried his venture at film directing both for independent and commercial films. And Mani Ratnam went onto make Bombay which truly shone the spotlight on him in Indian cinema.
But what of Roja? Somewhere in between the songs and the love story lies a beautiful political debate about a topic that the world ignored until 2001. Terrorism, Freedom fighters, militants and insurgents were terms that have existed for the longest time but the West (especially America) chose to not openly use such terms because it had no need to. Ethnic cleansing and proxy wars were conducted in Kashmir in the 1990’s with the aid of the Taliban but it went under the radar so to speak. While Roja got plenty of respect in India, no one really cared for it outside the country. An Indian plane was hijacked on the eve of 2000 and the hijackers demanded to be flown to Khandhar where they fled to safety after killing an innocent person on board. What did the world do? Nothing! India was left to clean up the mess while the rest of the world got drunk and celebrated the new century. And then more than a year later, 2 buildings fell and everything changed. Did everything change? Did terrorists not exist in Kashmir before that? Did a corrupt regime not support and train young "freedom fighters" to kill innocent people? The same corrupt regime became an ally in the "war on terror" after 2001 (or as Borat calls it "war of terror"). But I am getting off-tangent here. This film also contains another topic that the West will start exploring more via films in the upcoming years – kidnapping of innocent victims to demand release of terrorist prisoners. Roja shows how militants (freedom fighters, terrorists, whatever they are called) kidnap an innocent person (engineer) and use him as a bargaining chip to get their leader released in exchange. Back in 1993, it might have seemed unrealistic that the Indian government would release a terrorist in order to save an innocent person’s life but that is exactly what happened on the eve of 2000 when the families of the kidnapped plane victims urged the government to release the terrorists in exchange for their loved films.
What makes Roja incredibly interesting is that the film attempts to have a dialogue on the topic of jihad and whether violence is justified or not. An interesting scenario added in the film occurs when young kashmiri youth crossing the border into Pakistan to get training in the terrorist camps are gunned down by the Pakistani army by mistake. Was it really a mistake? Or was it another instance of the double-sided political game being played? The film ends on a note of slight optimism, but unfortunately, optimism is something not found when it comes to the Kashmir debate nowadays. One can’t change the course of events – proxy wars once started can’t be un-stopped. But atleast this film will stand as being one of the first few movies (since the 1990’s) to tackle a very common topic nowadays, although the effort slants a bit towards the commercial.
Note: the film suffers from poor dubbing. In order to make this film more accessible to the Indian market, it was dubbed in Hindi and leads to mangled dialogues in some scenes.
Watching Japanese horror films post Ring and Ju-On is a mixed experience One tries to watch a different story yet one can’t help shake the sense of familiarity that exists in most frames. The same techniques, the impending doom that is about to unfold and a terrified face waiting to greet its victim. In this film, a newspaper has the ability to predict people’s death. The newspaper merely serves as a warning but if someone acts on the headlines and tries to change the future, they will end up in an infinite cycle of their worst nightmares.
This is Sean Penn’s film. He is an almost every frame and carries this film with his fine acting of a troubled person stuck in a corrupt and insane world.
A family of four yet each person is their own island. The father hates his career and life; the mother aspires to be an actor and wishes she never game up on her dreams after marriage; the teenage son is frustrated with not getting the girl he loves and the 18 year old daughter is willing to do anything to get on tv. A soap opera in one sense but yet, I was drawn to this film. Plenty of scenes capture the perfect loneliness that a family can go through and no matter what age a person is at, they still long for that innocent happiness they once knew they could have had.
The trailers made this film look like two clichés in one – a high-school dance story combined with the element of an inspirational teacher helping troubled high school kids. But the trailers were wrong. The teacher is not a paid member of staff, he is someone from the community who volunteers his time to help the kids. The film is a fictional story based on the real life work of Pierre Dulaine (played by Antonio Banderas in the film) who believed that teaching ballroom dancing to kids will give them dignity and teach them how to respect other people. The film was fun to watch, even though it felt clichéd at times.
This film deserves a longer write-up. Every frame contains enough action to give us an insight into the complicated racial & cosmopolitan Parisian life. Two brothers, one a struggling musician and the other a transvestite dancer, a newly arrived Lithuanian citizen and a series of murders! Yet Denis knows what to show and what we need to understand ourselves. Everything is not laid out for us but we have to decipher what is going on. And that is what makes this such a rich watching experience.
Paris again, but a completely world from the one Denis focused on. This one deals with questions of philosophy, religion and the morality of sexual relations from a Jewish point of view. The philosophy is European (Kant’s need for routines) and the main character is caught between her love for philosophy and her need to live within her religious boundaries.
Roja (1992, directed by Mani Ratnam):
It took me almost 14 years to get around to watch this film. However, this was one of those movies that I knew so much about despite not having seen it. I had heard the songs, watched the music videos and had seen quite a few enough movie clips that I didn’t feel a need to see it. But I was repeatedly reminded that this movie had to be seen. I am glad for all those reminders because this is indeed a movie that has to be seen. When this film first came out, not many in Northern India had heard of A.R Rahman, Santosh Sivan, P.K Mishra or even Mani Ratnam. But Roja changed all that. Rahman’s music has truly reached the far corners of the world, past the Indian borders; P.K Mishra’s offbeat lyrics have generated a lot of musical hits; Santosh Sivan’s cinematography has garnered a few awards for him on the global scene and he also tried his venture at film directing both for independent and commercial films. And Mani Ratnam went onto make Bombay which truly shone the spotlight on him in Indian cinema.
But what of Roja? Somewhere in between the songs and the love story lies a beautiful political debate about a topic that the world ignored until 2001. Terrorism, Freedom fighters, militants and insurgents were terms that have existed for the longest time but the West (especially America) chose to not openly use such terms because it had no need to. Ethnic cleansing and proxy wars were conducted in Kashmir in the 1990’s with the aid of the Taliban but it went under the radar so to speak. While Roja got plenty of respect in India, no one really cared for it outside the country. An Indian plane was hijacked on the eve of 2000 and the hijackers demanded to be flown to Khandhar where they fled to safety after killing an innocent person on board. What did the world do? Nothing! India was left to clean up the mess while the rest of the world got drunk and celebrated the new century. And then more than a year later, 2 buildings fell and everything changed. Did everything change? Did terrorists not exist in Kashmir before that? Did a corrupt regime not support and train young "freedom fighters" to kill innocent people? The same corrupt regime became an ally in the "war on terror" after 2001 (or as Borat calls it "war of terror"). But I am getting off-tangent here. This film also contains another topic that the West will start exploring more via films in the upcoming years – kidnapping of innocent victims to demand release of terrorist prisoners. Roja shows how militants (freedom fighters, terrorists, whatever they are called) kidnap an innocent person (engineer) and use him as a bargaining chip to get their leader released in exchange. Back in 1993, it might have seemed unrealistic that the Indian government would release a terrorist in order to save an innocent person’s life but that is exactly what happened on the eve of 2000 when the families of the kidnapped plane victims urged the government to release the terrorists in exchange for their loved films.
What makes Roja incredibly interesting is that the film attempts to have a dialogue on the topic of jihad and whether violence is justified or not. An interesting scenario added in the film occurs when young kashmiri youth crossing the border into Pakistan to get training in the terrorist camps are gunned down by the Pakistani army by mistake. Was it really a mistake? Or was it another instance of the double-sided political game being played? The film ends on a note of slight optimism, but unfortunately, optimism is something not found when it comes to the Kashmir debate nowadays. One can’t change the course of events – proxy wars once started can’t be un-stopped. But atleast this film will stand as being one of the first few movies (since the 1990’s) to tackle a very common topic nowadays, although the effort slants a bit towards the commercial.
Note: the film suffers from poor dubbing. In order to make this film more accessible to the Indian market, it was dubbed in Hindi and leads to mangled dialogues in some scenes.
Premonition (2004, directed by Norio Tsuruta): Rating 6/10
Watching Japanese horror films post Ring and Ju-On is a mixed experience One tries to watch a different story yet one can’t help shake the sense of familiarity that exists in most frames. The same techniques, the impending doom that is about to unfold and a terrified face waiting to greet its victim. In this film, a newspaper has the ability to predict people’s death. The newspaper merely serves as a warning but if someone acts on the headlines and tries to change the future, they will end up in an infinite cycle of their worst nightmares.
The Assassination of Richard Nixon (directed by Niels Mueller): Rating 9/10
This is Sean Penn’s film. He is an almost every frame and carries this film with his fine acting of a troubled person stuck in a corrupt and insane world.
Remember me, my love (2003, directed by Gabriele Muccino): Rating 8.5/10
A family of four yet each person is their own island. The father hates his career and life; the mother aspires to be an actor and wishes she never game up on her dreams after marriage; the teenage son is frustrated with not getting the girl he loves and the 18 year old daughter is willing to do anything to get on tv. A soap opera in one sense but yet, I was drawn to this film. Plenty of scenes capture the perfect loneliness that a family can go through and no matter what age a person is at, they still long for that innocent happiness they once knew they could have had.
Take the Lead (directed by Liz Friedlander): Rating 7.5/10
The trailers made this film look like two clichés in one – a high-school dance story combined with the element of an inspirational teacher helping troubled high school kids. But the trailers were wrong. The teacher is not a paid member of staff, he is someone from the community who volunteers his time to help the kids. The film is a fictional story based on the real life work of Pierre Dulaine (played by Antonio Banderas in the film) who believed that teaching ballroom dancing to kids will give them dignity and teach them how to respect other people. The film was fun to watch, even though it felt clichéd at times.
I Can’t Sleep(1994, directed by Claire Denis): Rating 9/10
This film deserves a longer write-up. Every frame contains enough action to give us an insight into the complicated racial & cosmopolitan Parisian life. Two brothers, one a struggling musician and the other a transvestite dancer, a newly arrived Lithuanian citizen and a series of murders! Yet Denis knows what to show and what we need to understand ourselves. Everything is not laid out for us but we have to decipher what is going on. And that is what makes this such a rich watching experience.
Little Jerusalem (directed by Karin Albou): Rating 8.5/10
Paris again, but a completely world from the one Denis focused on. This one deals with questions of philosophy, religion and the morality of sexual relations from a Jewish point of view. The philosophy is European (Kant’s need for routines) and the main character is caught between her love for philosophy and her need to live within her religious boundaries.
Wednesday, November 22, 2006
Fast Food, Borat & Bond
Fast-Food Nation (directed by Richard Linklater): Rating 7/10
It is a bad sign when a free advance screening of a movie is not even close to half sold out. And that was the surprising scene on Tuesday, Nov 14 at the advance screening of Linklater’s latest flick. Why did the crowds stay away? The big multiplexes in my city didn’t even bother booking this film and the city’s art-house theatre was left to carry the burden of being the only theatre to open this movie on Friday, Nov 17th. So is this film that bad? Ofcourse not! It is definitely worth seeing just for the different ideas portrayed.
Linklater and Eric Schlosser have crafted a fictional story meant to show a slice of the hierarchy involved in the fast food chain. The lowest rung starts from the illegal workers (Catalina Sandino Moreno and Wilmer Valderrama) who come over from Mexico to work in the lowest paid jobs in the meat industry. We also meet the transporter and guide who help in the border crossing. Next up, is the meat packaging plant where people work in dismal conditions to service the stomachs of a hungry nation – cutting, dicing & chopping the animals herded in from the cattle range. We are also introduced to a cattle ranger (Kris Kristofferson) who provides his animals for the plant and even get a glimpse at the sly broker (Bruce Willis in an amusing cameo) between the plant and the rancher. The small town fast food chain and its young disillusioned teenage staff are shown along with the manager trying to sell the job as a career to the kids. The other kids (what is Avril Lavigne doing here?) who don’t work at the fast food chains but want to take action against an oppressive system are also given some air time. And there is even place for the one who got away -- Ethan Hawke plays a person who was lucky enough to leave the small town in search of a better life; he duly returns to tell his niece to follow her dream and eventually leave the town. And no film would be complete without the distinguished executives of the fast food chain. Greg Kinnear plays the marketing head in charge of coming up with the slogan and ideas for the next big burger.
This is a movie in fragments with multiple short-stories and each story having its own style different from the other segments. Overall, the film can be seen as a combination of satire, a political statement, serious drama, mocu-mentary and a coming of age film. I read in an interview that Linklater wanted to model the story after Traffic and you can see that in the overall film structure. However, Traffic had a consistent feel to every segment whereas Fast-Food Nation feels like different episodes put together. For example, take the Ethan Hawke segment. While his presence is refreshing in comparison to some of the other film segments, his character seems out of place. Hawke’s character seems to have flown straight out of the pages of other Linklater films such as Waking Life, Before Sunrise and Before Sunset where his character pretends to have pseudo-intelligent babble. What exactly is he doing in this movie? Just there as a favor to the director? Bruce Willis is fun to watch and he spouts some very interesting words but he is just a tiny fraction of the story. As are many other cameos and roles. I still believe all these different items could have worked together only if the movie had more energy to it. Every frame feels tired and exhausted. Eating fast-food does not fill one with much energy, so if the idea was to mimic the staleness of fast-food on celluloid, then the movie has accomplished its goal. But the problem is we have already seen how an absorbing movie can be made about fast-food -- Super Size Me may have been a documentary but it was far more interesting to watch than a fictional small town tale with global implications.
The film starts and ends with the Mexican border crossing, with the story going full circle as a younger generation of workers is shown to be entering the nation. Greg Kinnear’s character also starts and ends the movie, even though he disappears half-way through the film. Nothing wrong with that as his character has merely served his purpose and no longer needs to be there. One note about the killing assembly line at the film’s end. I am glad that Linklater put that scene in the movie. Even though the scene might not change anything regarding fast-food, it might make some people think about where their food really comes from. I find it amusing to see people getting shocked and disgusted at animals being slaughtered but no-one utters a peep when humans are tortured and mutilated both in real life and on screen.
Borat (Directed by Larry Charles): Rating -- Very Nice!
“Hello, my name Borat” By now, everyone has heard of Borat but not everyone likes him. But Borat probably does not give a goat’s ass if people don’t like him. His goal is not to be liked but simply to get a reaction from people. And his movie does just that. There is some slapstick comedy in the film but most of the humour is derived from little movement. In fact, the genius lies in Sacha Baron Cohen merely staying still and uttering just a few well chosen words. In other cases, a mere attempt to kiss or shake hands with men is enough to produce the desired effect. What is offensive to one person is humour to another! I have read how Borat offends “everyone”. Now that statement is true in the film’s context but in a larger context, it is not totally correct. Borat has carefully chosen the people he wants to offend and only targets a narrow category. I wish he had targeted more political people but maybe those were items that were left out on the editing table and are on the DVD instead? One of the funniest political sequences is the rodeo scene when he changes one word without the crowd fully understanding it (and even if they did catch the mistake, they might have attributed it to his bad English). Borat says that his nation supports the American president’s “war of terror” and the crowd applauds loudly. This was in Texas so it is clear the crowd were applauding the president’s agenda not Borat’s message.
Yes, this is a funny movie. But I am surprized to see how high the North American critics have rated this film. Normally, they question the logistics of each film scene but I have not seen that done for this movie. Maybe this movie is critic proof because there is no real story for the film but just scenes which serve as mere excuses for gags and laughs. The short length of the movie (84 min) also ensures that the humour comes fast and before the jokes get boring, the film ends gracefully.
Casino Royale (Directed by Martin Campbell): Rating 8/10
Yup, Bond is back! But with a new star, comes a new look and attitude. The classy look is replaced by a raw &rugged style. This is the start of the story so appropriately the new Bond is not up to speed regarding etiquette and diplomacy. He is reckless and even when he has been beaten fairly, he can’t accept defeat. For example, at the start of the movie, Bond is beaten for agility and pace by Sebastien Foucan’s character. Bond understands he can’t match his opponent’s flexible movements so he opts for effective, intelligent techniques and even brute force. But despite his best effort, he fails to catch his opponent. Instead of keeping quiet, he storms into the embassy and blows the entire place up. This gets him in trouble but that only galvanizes him into more action.
The film is written by 3 writers and at times it shows. The first segment is all action, the middle part the casino and gambling stage of the film and the last 30 minutes is sappy romance where Bond is at his most vulnerable. Paul Haggis in one of the writers and I am sure he had something to with exploring Bond & Vesper’s loneliness (such characters could find a tiny cameo inMillion Dollar Baby and Crash). But also, there is a tiny tip to Shakespeare as Vesper complains she can’t get rid of the blood from her hand (Lady Macbeth and foreshadowing both in one go?). A torture scene born from the remains of the chair sequence in Pulp Fiction and dark atmosphere of Saw is needless present but also contains fresh humour keeping in character with Daniel Craig’s brash attitude.
This is a different film from the previous Bond series where Pierce Brosnan played a charming Bond who didn’t get involved in physical violence. Daniel Craig is more suited to playing the tough guy who prefers to get his hands dirty and is willing to punch his way through trouble. And Bond has to deal with two women who are more than a match for him. Bond’s attitude is appropriately dealt by M’s razor sharp words (Judi Dench is perfect again) and Eva Green is a delightful edition as a Bond girl who is more brain than brawn. But the film’s long running time (2 hours, 20 min or so) adds a lot of un-necessary scenes which should have been left out on the editing table.
Thursday, November 16, 2006
Soccer Film Festival
Since I have been busy programming movies for other film festivals this year, it was appropriate that my birthday gift was a personal film festival!! This wonderful surprise gift involved movies with soccer based themes. Instead of naming the wonderful individuals behind this gift, I will call them festival programmers :)
Initially, 7 movies were programmed to be screened over two days. But the astute festival programmers discovered that I had seen three of the films (Football Factory, Cup Final, The Goalkeeper’s anxiety at the penalty kick). So two more films (Fever Pitch, The Miracle at Bern) were added to expand the list to 6 films and stretch the film festival to 4 days. The programmers knew very little about soccer when they programmed this for me but their picks were very impressive. In fact, not only were different genres (drama, comedy, action) covered, but each movie showed how soccer ties in with the fabric of a society. On top of that, the selections covered all rungs of football, right from a boy kicking a ball for the first time to amateur & professional players leading up to the World Cup, the highest aspiration for football players. The three countries spotlighted by all the seven films were England, Germany (albeit West Germany) & Scotland.
This was a truly wonderful gift for which I am eternally grateful and I can safely say, I enjoyed every single film. So instead of rating each film, I will simply state its relevance to the beautiful game.
Day One: Wednesday, Nov 8, 2006
Fever Pitch (1997, directed by David Evans, based on Nick Hornby’s book)
It was appropriate the festival kicked off with this film. This is the original movie based on Nick Hornby’s wonderful book about an Arsenal fan. I had seen this movie a few years ago but back then I had not visited Highbury (Arsenal’s legendary old stadium). The book and film ends at the exact match when I first watched an Arsenal game – May 26, 1989 when Arsenal did the impossible and won the championship on the last day of the season against an unbeatable Liverpool team at Anfield. That game won me over and I became an Arsenal fan for good. Since then, I have exhibited some of the neurotic behaviour that Hornby (and his alter ego in the film, Colin Firth) went through while supporting Arsenal. In fact, most soccer fans (not only Arsenal fans) probably fall into the categories shown in the film – optimistic and always pessimistic. The optimistic ones always believe their team will win, no matter who the opposition. And the pessimistic believe that their team is capable of always screwing up even when their opposition is a non-league team.
This movie shows what it means to be a soccer fan and serves to highlight the difficulties men have in trying to make women understand what this game means. Plenty of soccer relevance in this film as the film shows school football, a frustrated coach, soccer vs women debates, amateur & professional football and the crazy life of a soccer fan. Also, the movie covers the dangers of all standing sections in English stadiums in the past, something which may have added to the flavour of the game in the old days but also led to some grave consequences (racism, abuse, death and fights). The all-seating arrangements that exist nowadays have made for more family-friendly game viewing. I sat in Highbury’s North end for my games in 2005, the same North end that was standing room only as shown in the film prior to 1990.
Day Two: Thursday, Nov 9, 2006
The Miracle of Bern (2003, directed by Sönke Wortmann)
A pleasant surprise! What made this viewing more enjoyable is the fact that I saw this movie after having read the wonderful book Tor! The story of German Football which lend validity to the film’s story of the 1954 World Cup. The book starts out on the morning of the 1954 World Cup final. When the first rain drops came down on a bright sunny day, the West German captain Fritz Walter knew his team would win the World Cup. This was because as the The Miracle of Bern shows the West German coach Sepp Herberger predicted that if the weather was sunny, then Hungary would win but if it rained, then the West Germans would take the Cup because a soggy pitch was Fritz Walter’s domain. And so it was….History will show that West Germany beat Hungary 3-2 to win their first every World Cup. But what was the real story behind that improbably victory? The Hungarian team of 1954 was one of the greatest teams in the history of this game yet they lost on a soggy rainy pitch to the West Germans despite thrashing them 8-3 earlier in the World Cup and leading 2-0 in the final. How could that have happened?
The film introduces a fictional element by showing part of the World Cup through the eyes of 11 year old Matthias who is on good terms with Helmut Rahn, the terrific winger who scored the winning goal in that 1954 final. Matthias looks up to Rahn as a father figure because Matthias has never met his own father. That is until Matthias’s father, Richard, returns after having spent 11 years in a Russian prison following the end of World War II. Richard is bitter from the war and is hostile towards Matthias since he never knew of his existence (he got no letters from home informing him of Matthias’ birth just after he left for Russia). Richard can no longer work in the coal mines and takes his anger out on his family. He even prevents Matthias from watching the World Cup games. Eventually, Richard comes around and teaches his son to improve his game and tries to drive him to the World Cup final because as it turns out, Matthias is Helmut Rahn’s lucky mascot (this is the film’s melodramatic fairy-tale element).
One of the neatest elements of the film is that instead of using archival footage, the filmmakers re-shot the 1954 final with similar replica jerseys and moves which led to all the goals. The movie is melodramatic and we know what the outcome will be, yet the movie’s emotional elements won me over. It shows the power of soccer to unite and bring people closer together, especially a father and a son. In that respect, this movie is similar to Fever Pitch which illustrated how the father introduced his son to the game. Miracle.. also has that dreamy quality that children undergo while trying to emulate their stars during street football games. From a historical point of view, the film also sheds light to Herberger’s famous quote “The ball is round. The game lasts ninety minutes. This much is fact. Everything else is theory.” We learn from the movie that these might not have been Herberger’s words and that he may have gotten them from the cleaning lady at the hotel. Fact or fiction?
Mean Machine (2001, directed by Barry Skolnick)
This was a remake of the original Hollywood film, The Longest Yard. Since I had not seen that film, I was able to enjoy this British prison soccer film without knowing the story. Ofcourse, it is easy to predict this film’s story from the outset but it still makes for fun watching. A large reason for that is Vinnie Jones who is perfectly cast for this role. Before appearing as a gangster in Guy Ritchie films, Vinnie Jones was best known for being a tough no-nonsense professional defender who made headlines (for all the right & wrong reasons) with teams such as Wimbledon and Chelsea. In the film, he plays an ex-professional footballer who is jailed for drunk driving. However, the reception he gets is chilly because he once infamously betrayed his English team by taking a bet to give away a penalty against the Germans (here is the German team again). What makes this story angle interesting and realistic is that in real life, one of Vinnie’s ex-team mates was charged for taking a bet to throw away a game.
Jones has the right look and attitude for this part and makes this an enjoyable watch. The film is packed with clichéd characters but the one who outdoes them all is Jason Statham’s character of ‘Monk’. Monk is locked up in solitary confinement because he killed 32 people by hand. He is crazy and unpredictable. Which is why he ends up being the prison soccer team’s goalkeeper! That is a true soccer joke as most real life goal-keepers are known to be either eccentric (Rene Higuita of Columbia), temperamental (Arsenal’s Jens Lehmann), bossy (Oliver Kahn) or plain philosophical (Albert Camus claimed to have learned more about life from being a goal-keeper). The big soccer match in the film is between the prison guards and the in-mates. No prizes for guessing who wins the game. But the game is not pretty football; it is tough and gritty (anti-Arsenal brand, or pro-Blackburn and pro-Bolton brand).
A lot of negative sides of the present day game are covered in this film – soccer gambling, cheating, bribing, irresponsive behavior from professional players (quite a few make the headlines nowadays for drunk driving), and negative on-field tactics. On the positive side, the film shows that a game of footie, no matter which location, can still give hope to people even if the audience is trapped in a jail cell, an office, a pub or a stadium.
Half-way through the festival
The next three films covered Scotland and soccer was only used as a sprinkling in these movies but it was an important part. It was a very good decision to program these three movies together as they had quite a few similar elements and gave a sharp picture of Scottish life.
Day Three: Friday, Nov 10, 2006
My Name is Joe (1998, directed by Ken Loach)
Soccer only truly features at the start of this film when Joe (played superbly by Peter Mullan) drives his soccer team for another amateur game. His team are plain terrible. In fact, they have only won one game in their entire history. But the lads have fun playing the game. It helps them forget their pain and suffering, be it poverty, domestic issues or even addictions. The team calls themselves West Germany (the German angle is evident here as well) and model themselves on the 1974 winning team. They can’t afford new soccer kits so half-way through the film, they steal a box full of shiny new yellow Brazilian jerseys. This petty crime lights up their faces and they find a new zest in continuing their losing streak..
What makes the limited soccer scenes so important is that they convey some of the reasons why men are drawn towards the game. Sometimes, the game offers an escape, just like any addiction. The game gives a chance for the men to bond, hang out, act childish and shut the rest of the world out (which includes their family as well). Besides the soocer angle, this is a powerful story of the recovering alcoholic Joe and his attempt to balance unemployment, love with Sarah (played by the equally impressive Louise Goodall) and trying to sort out issues with the local gangster. A wonderful film which shows how a little thing can provide hope and at the same time, one mistake can destroy everything.
The Acid House (1998, directed by Paul McGuigan)
Three short films make up this movie and all three interesting stories are written by Irvine Welsh.
1) The Granton Star Case: Boab is having a terrible day. He finds himself kicked out of his amateur soccer team and replaced by the new stud, Tambo. He returns home only to find out that his parents can’t stand him living with them anymore and kick him out of the house. He phones his girlfriend, hoping she will move in with him but she breaks up with him. And to top it off, he gets fired from his job. So what’s a lad to do? Drink down one’s worries with a pint ofcourse! While he is hating his life, he meets God in a pub. God explains that Boab has wasted his life and is nothing more than an insignificant bug. So to take revenge, God turns Boab into a bug (kafka, where are you?). The new bug goes about to satisfy himself by taking revenge on all the people who made his life miserable. At the end, he accomplishes his goal and as the camera heads towards the sky, we see Boab transformed back into a human. Will his life become better? Probably not, but I am sure he had fun in taking his revenge. Atleast, he will get his place back in the soccer team because he killed Tambo who was shagging his girlfriend.
2) The Soft Touch: This one is the most emotional of the lot and is the hardest to watch. Johnny is married to the flirtatious Catriona. Right from the outset, their marriage seems doomed. But Johnny is just too nice to notice. He takes care of their new born baby with the utmost of love while his wife could not care less. Trouble really starts when Larry moves upstairs to Johnny’s place and messes with Johnny’s life. First Larry takes Catriona away, makes love to her and makes Johnny listen downstairs. Next, Larry starts taking electricity, tv and other items from Johnny’s apartment. Johnny can’t do anything but he clings onto his baby daughter. Larry is a thug, but a soccer fan nonetheless. Watching him gives a face to those hooligans that have tarnished this game’s reputation. In a cruel scene, Larry kicks Johnny for fun, because he can. We watch helplessly as Johnny tries to live, just wishing he would do something about his situation. But what can he do? He is a soft person and that is the price he has to pay for his decency in a cruel, unforgiving society.
3) The Acid House: Coco is a soccer fan who in a bizarre drugged up night, exchanges souls with a newborn rich baby. After the switch, the new baby speaks profanities while Coco is left to act like a baby trapped in an adult body. In the final scene, the two exchange places in a pub packed with soccer fans. Just before the switch, Coco’s girlfriend tells Coco that soccer is only for people who don’t grow up and since he is an adult, he should not bother with the game. But right after the switch, Coco immediately starts jumping up and cheering with his soccer mates. An interesting way to end this short! It does play into the popular attitude that being a soccer fan is a childish activity and it is not proper behaviour for grown men to be drunk and cheer for a soccer team.
Wow. Three very different shorts which tackle themes of revenge, violence vs non-violence and pure drunken stupor! The first short is all about revenge – a devious mind can find ways to take revenge, even if the mind is trapped inside a fly’s body. The second short is the hardest to watch but it forms a perfect pairing with My Name is Joe and shows no matter what stand one takes against a thug, one might end up on the losing end. In My Name is Joe, Joe finds out that taking a forceful stand against gangsters only results in causing more damage and being trapped in more complex traps. Whereas in The Soft Touch, when Johnny takes no stand, he is pushed around and treated as non-existent. He might as well being the bug in The Granton Star Case. And the title short (The Acid House) is both funny and quirky at times (example: an adult in a baby’s body wanting to be breast fed) and overall marks a fitting end. All the main characters in the three shorts could have been following the same game (the semi-finals of the Scottish Cup) and yet each go about their life differently. Not all soccer fans are drunken hooligans or immature adults as the media shows. Some of them are, but the rest are average blokes just trying to watch a game.
And now for the finale!! Drum-roll….
Day Four: Saturday, Nov 11, 2006
Gregory's girl (1981, directed by Bill Forsyth)
Gregory is plain lazy and too laid back to care for anything. He plays as a striker for his school soccer team but has not scored a goal in over 8 games. Safe to say, his team have lost all those games. But Gregory is not concerned. He believes he is going through a slump and the goals will come. His coach is going crazy and decides to take action. He benches Gregory and goes in search for ‘new blood’ to provide spark for the team. The best candidate he gets is Dorothy, a girl. She points out that the coach never stated in his selection posters that a girl could not join the team. So the coach is forced to take Dorothy and installs Gregory as a goal-keeper. But that decision does not improve things because Gregory is a terrible goal-keeper. He can’t keep the ball out of the net and he acts even more immaturely when Dorothy scores a goal -- whenever she scores, boys from both teams try to give her a kiss. Gregory is in love with Dorothy but is too shy to do anything about it. He gets ample advice from his 10 year old sister, who acts more like a 14 year old. In the end, Gregory asks Dorothy out and she accepts. But she never shows up for their date. In fact, three of her friends show up in turns and he gets 3 separate dates out of it. Who will be Gregory’s girl? He himself does not know but by the end, he has learned a thing or two about himself as well. There is hope that he will mature and become a better adult and hopefully a better soccer player.
A perfect way to end this special festival! This light hearted coming of age movie marked a peaceful end to a festival that literally started on a fever pitch.
Initially, 7 movies were programmed to be screened over two days. But the astute festival programmers discovered that I had seen three of the films (Football Factory, Cup Final, The Goalkeeper’s anxiety at the penalty kick). So two more films (Fever Pitch, The Miracle at Bern) were added to expand the list to 6 films and stretch the film festival to 4 days. The programmers knew very little about soccer when they programmed this for me but their picks were very impressive. In fact, not only were different genres (drama, comedy, action) covered, but each movie showed how soccer ties in with the fabric of a society. On top of that, the selections covered all rungs of football, right from a boy kicking a ball for the first time to amateur & professional players leading up to the World Cup, the highest aspiration for football players. The three countries spotlighted by all the seven films were England, Germany (albeit West Germany) & Scotland.
This was a truly wonderful gift for which I am eternally grateful and I can safely say, I enjoyed every single film. So instead of rating each film, I will simply state its relevance to the beautiful game.
Day One: Wednesday, Nov 8, 2006
Fever Pitch (1997, directed by David Evans, based on Nick Hornby’s book)
It was appropriate the festival kicked off with this film. This is the original movie based on Nick Hornby’s wonderful book about an Arsenal fan. I had seen this movie a few years ago but back then I had not visited Highbury (Arsenal’s legendary old stadium). The book and film ends at the exact match when I first watched an Arsenal game – May 26, 1989 when Arsenal did the impossible and won the championship on the last day of the season against an unbeatable Liverpool team at Anfield. That game won me over and I became an Arsenal fan for good. Since then, I have exhibited some of the neurotic behaviour that Hornby (and his alter ego in the film, Colin Firth) went through while supporting Arsenal. In fact, most soccer fans (not only Arsenal fans) probably fall into the categories shown in the film – optimistic and always pessimistic. The optimistic ones always believe their team will win, no matter who the opposition. And the pessimistic believe that their team is capable of always screwing up even when their opposition is a non-league team.
This movie shows what it means to be a soccer fan and serves to highlight the difficulties men have in trying to make women understand what this game means. Plenty of soccer relevance in this film as the film shows school football, a frustrated coach, soccer vs women debates, amateur & professional football and the crazy life of a soccer fan. Also, the movie covers the dangers of all standing sections in English stadiums in the past, something which may have added to the flavour of the game in the old days but also led to some grave consequences (racism, abuse, death and fights). The all-seating arrangements that exist nowadays have made for more family-friendly game viewing. I sat in Highbury’s North end for my games in 2005, the same North end that was standing room only as shown in the film prior to 1990.
Day Two: Thursday, Nov 9, 2006
The Miracle of Bern (2003, directed by Sönke Wortmann)
A pleasant surprise! What made this viewing more enjoyable is the fact that I saw this movie after having read the wonderful book Tor! The story of German Football which lend validity to the film’s story of the 1954 World Cup. The book starts out on the morning of the 1954 World Cup final. When the first rain drops came down on a bright sunny day, the West German captain Fritz Walter knew his team would win the World Cup. This was because as the The Miracle of Bern shows the West German coach Sepp Herberger predicted that if the weather was sunny, then Hungary would win but if it rained, then the West Germans would take the Cup because a soggy pitch was Fritz Walter’s domain. And so it was….History will show that West Germany beat Hungary 3-2 to win their first every World Cup. But what was the real story behind that improbably victory? The Hungarian team of 1954 was one of the greatest teams in the history of this game yet they lost on a soggy rainy pitch to the West Germans despite thrashing them 8-3 earlier in the World Cup and leading 2-0 in the final. How could that have happened?
The film introduces a fictional element by showing part of the World Cup through the eyes of 11 year old Matthias who is on good terms with Helmut Rahn, the terrific winger who scored the winning goal in that 1954 final. Matthias looks up to Rahn as a father figure because Matthias has never met his own father. That is until Matthias’s father, Richard, returns after having spent 11 years in a Russian prison following the end of World War II. Richard is bitter from the war and is hostile towards Matthias since he never knew of his existence (he got no letters from home informing him of Matthias’ birth just after he left for Russia). Richard can no longer work in the coal mines and takes his anger out on his family. He even prevents Matthias from watching the World Cup games. Eventually, Richard comes around and teaches his son to improve his game and tries to drive him to the World Cup final because as it turns out, Matthias is Helmut Rahn’s lucky mascot (this is the film’s melodramatic fairy-tale element).
One of the neatest elements of the film is that instead of using archival footage, the filmmakers re-shot the 1954 final with similar replica jerseys and moves which led to all the goals. The movie is melodramatic and we know what the outcome will be, yet the movie’s emotional elements won me over. It shows the power of soccer to unite and bring people closer together, especially a father and a son. In that respect, this movie is similar to Fever Pitch which illustrated how the father introduced his son to the game. Miracle.. also has that dreamy quality that children undergo while trying to emulate their stars during street football games. From a historical point of view, the film also sheds light to Herberger’s famous quote “The ball is round. The game lasts ninety minutes. This much is fact. Everything else is theory.” We learn from the movie that these might not have been Herberger’s words and that he may have gotten them from the cleaning lady at the hotel. Fact or fiction?
Mean Machine (2001, directed by Barry Skolnick)
This was a remake of the original Hollywood film, The Longest Yard. Since I had not seen that film, I was able to enjoy this British prison soccer film without knowing the story. Ofcourse, it is easy to predict this film’s story from the outset but it still makes for fun watching. A large reason for that is Vinnie Jones who is perfectly cast for this role. Before appearing as a gangster in Guy Ritchie films, Vinnie Jones was best known for being a tough no-nonsense professional defender who made headlines (for all the right & wrong reasons) with teams such as Wimbledon and Chelsea. In the film, he plays an ex-professional footballer who is jailed for drunk driving. However, the reception he gets is chilly because he once infamously betrayed his English team by taking a bet to give away a penalty against the Germans (here is the German team again). What makes this story angle interesting and realistic is that in real life, one of Vinnie’s ex-team mates was charged for taking a bet to throw away a game.
Jones has the right look and attitude for this part and makes this an enjoyable watch. The film is packed with clichéd characters but the one who outdoes them all is Jason Statham’s character of ‘Monk’. Monk is locked up in solitary confinement because he killed 32 people by hand. He is crazy and unpredictable. Which is why he ends up being the prison soccer team’s goalkeeper! That is a true soccer joke as most real life goal-keepers are known to be either eccentric (Rene Higuita of Columbia), temperamental (Arsenal’s Jens Lehmann), bossy (Oliver Kahn) or plain philosophical (Albert Camus claimed to have learned more about life from being a goal-keeper). The big soccer match in the film is between the prison guards and the in-mates. No prizes for guessing who wins the game. But the game is not pretty football; it is tough and gritty (anti-Arsenal brand, or pro-Blackburn and pro-Bolton brand).
A lot of negative sides of the present day game are covered in this film – soccer gambling, cheating, bribing, irresponsive behavior from professional players (quite a few make the headlines nowadays for drunk driving), and negative on-field tactics. On the positive side, the film shows that a game of footie, no matter which location, can still give hope to people even if the audience is trapped in a jail cell, an office, a pub or a stadium.
Half-way through the festival
The next three films covered Scotland and soccer was only used as a sprinkling in these movies but it was an important part. It was a very good decision to program these three movies together as they had quite a few similar elements and gave a sharp picture of Scottish life.
Day Three: Friday, Nov 10, 2006
My Name is Joe (1998, directed by Ken Loach)
Soccer only truly features at the start of this film when Joe (played superbly by Peter Mullan) drives his soccer team for another amateur game. His team are plain terrible. In fact, they have only won one game in their entire history. But the lads have fun playing the game. It helps them forget their pain and suffering, be it poverty, domestic issues or even addictions. The team calls themselves West Germany (the German angle is evident here as well) and model themselves on the 1974 winning team. They can’t afford new soccer kits so half-way through the film, they steal a box full of shiny new yellow Brazilian jerseys. This petty crime lights up their faces and they find a new zest in continuing their losing streak..
What makes the limited soccer scenes so important is that they convey some of the reasons why men are drawn towards the game. Sometimes, the game offers an escape, just like any addiction. The game gives a chance for the men to bond, hang out, act childish and shut the rest of the world out (which includes their family as well). Besides the soocer angle, this is a powerful story of the recovering alcoholic Joe and his attempt to balance unemployment, love with Sarah (played by the equally impressive Louise Goodall) and trying to sort out issues with the local gangster. A wonderful film which shows how a little thing can provide hope and at the same time, one mistake can destroy everything.
The Acid House (1998, directed by Paul McGuigan)
Three short films make up this movie and all three interesting stories are written by Irvine Welsh.
1) The Granton Star Case: Boab is having a terrible day. He finds himself kicked out of his amateur soccer team and replaced by the new stud, Tambo. He returns home only to find out that his parents can’t stand him living with them anymore and kick him out of the house. He phones his girlfriend, hoping she will move in with him but she breaks up with him. And to top it off, he gets fired from his job. So what’s a lad to do? Drink down one’s worries with a pint ofcourse! While he is hating his life, he meets God in a pub. God explains that Boab has wasted his life and is nothing more than an insignificant bug. So to take revenge, God turns Boab into a bug (kafka, where are you?). The new bug goes about to satisfy himself by taking revenge on all the people who made his life miserable. At the end, he accomplishes his goal and as the camera heads towards the sky, we see Boab transformed back into a human. Will his life become better? Probably not, but I am sure he had fun in taking his revenge. Atleast, he will get his place back in the soccer team because he killed Tambo who was shagging his girlfriend.
2) The Soft Touch: This one is the most emotional of the lot and is the hardest to watch. Johnny is married to the flirtatious Catriona. Right from the outset, their marriage seems doomed. But Johnny is just too nice to notice. He takes care of their new born baby with the utmost of love while his wife could not care less. Trouble really starts when Larry moves upstairs to Johnny’s place and messes with Johnny’s life. First Larry takes Catriona away, makes love to her and makes Johnny listen downstairs. Next, Larry starts taking electricity, tv and other items from Johnny’s apartment. Johnny can’t do anything but he clings onto his baby daughter. Larry is a thug, but a soccer fan nonetheless. Watching him gives a face to those hooligans that have tarnished this game’s reputation. In a cruel scene, Larry kicks Johnny for fun, because he can. We watch helplessly as Johnny tries to live, just wishing he would do something about his situation. But what can he do? He is a soft person and that is the price he has to pay for his decency in a cruel, unforgiving society.
3) The Acid House: Coco is a soccer fan who in a bizarre drugged up night, exchanges souls with a newborn rich baby. After the switch, the new baby speaks profanities while Coco is left to act like a baby trapped in an adult body. In the final scene, the two exchange places in a pub packed with soccer fans. Just before the switch, Coco’s girlfriend tells Coco that soccer is only for people who don’t grow up and since he is an adult, he should not bother with the game. But right after the switch, Coco immediately starts jumping up and cheering with his soccer mates. An interesting way to end this short! It does play into the popular attitude that being a soccer fan is a childish activity and it is not proper behaviour for grown men to be drunk and cheer for a soccer team.
Wow. Three very different shorts which tackle themes of revenge, violence vs non-violence and pure drunken stupor! The first short is all about revenge – a devious mind can find ways to take revenge, even if the mind is trapped inside a fly’s body. The second short is the hardest to watch but it forms a perfect pairing with My Name is Joe and shows no matter what stand one takes against a thug, one might end up on the losing end. In My Name is Joe, Joe finds out that taking a forceful stand against gangsters only results in causing more damage and being trapped in more complex traps. Whereas in The Soft Touch, when Johnny takes no stand, he is pushed around and treated as non-existent. He might as well being the bug in The Granton Star Case. And the title short (The Acid House) is both funny and quirky at times (example: an adult in a baby’s body wanting to be breast fed) and overall marks a fitting end. All the main characters in the three shorts could have been following the same game (the semi-finals of the Scottish Cup) and yet each go about their life differently. Not all soccer fans are drunken hooligans or immature adults as the media shows. Some of them are, but the rest are average blokes just trying to watch a game.
And now for the finale!! Drum-roll….
Day Four: Saturday, Nov 11, 2006
Gregory's girl (1981, directed by Bill Forsyth)
Gregory is plain lazy and too laid back to care for anything. He plays as a striker for his school soccer team but has not scored a goal in over 8 games. Safe to say, his team have lost all those games. But Gregory is not concerned. He believes he is going through a slump and the goals will come. His coach is going crazy and decides to take action. He benches Gregory and goes in search for ‘new blood’ to provide spark for the team. The best candidate he gets is Dorothy, a girl. She points out that the coach never stated in his selection posters that a girl could not join the team. So the coach is forced to take Dorothy and installs Gregory as a goal-keeper. But that decision does not improve things because Gregory is a terrible goal-keeper. He can’t keep the ball out of the net and he acts even more immaturely when Dorothy scores a goal -- whenever she scores, boys from both teams try to give her a kiss. Gregory is in love with Dorothy but is too shy to do anything about it. He gets ample advice from his 10 year old sister, who acts more like a 14 year old. In the end, Gregory asks Dorothy out and she accepts. But she never shows up for their date. In fact, three of her friends show up in turns and he gets 3 separate dates out of it. Who will be Gregory’s girl? He himself does not know but by the end, he has learned a thing or two about himself as well. There is hope that he will mature and become a better adult and hopefully a better soccer player.
A perfect way to end this special festival! This light hearted coming of age movie marked a peaceful end to a festival that literally started on a fever pitch.
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