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Wednesday, December 22, 2010

Jean-Pierre Melville Spotlight

Jean-Pierre Melville films
The 6 films part of the spotlight on Jean-Pierre Melville:

Bob The Gambler (1956)
Léon Morin, prêtre (1961)
Le doulos (1962)
Le deuxième souffle (1966)
Le samouraï (1967)
Un Flic (1972)

In Melville’s films, like in mine, characters are caught between good and evil; and sometimes, even the worst gangsters can behave in the noblest fashion...

Melville is God to me


-- John Woo, The Melville Style, Cahiers du Cinema, Nov 2006

Jean-Pierre Melville is famous for his gangster films which have plenty of admirers, including John Woo and Quentin Tarantino. However, Melville ventured off in other directions as well, most notably World War II French resistance (Army of Shadows), religious debate (Léon Morin, prêtre) and an incestuous relationship tale sprinkled with a dreamy Cocteau Orphée narrative style (Les enfants terribles).

Criminal vs Cops, chess matches

Rain coats. Hats. Criminals. Cops. Heists. Robbery. Gambling. Loyalty. Jazz.

A lot of the same elements appear in various Melville gangster films but each film still has a distinct character because of the effort spent in crafting unique criminals and cops whose behaviors and actions linger long in the memory after the final credits. Bob (Roger Duchesne, Bob the Gambler) is an experienced calculative criminal who is completely different from the rash impulsive Maurice Faugel (Serge Reggiani, Le doulos) or the heist mastermind Simon (Richard Crenna, Un Flic) or the principled yet emotional Gu (Lino Ventura, Le deuxième souffle). Then there is the much younger hitman Jef Costello (Alain Delon, Le samouraï) whose cold style is rivaled only by the police informer Silien (Jean-Paul Belmondo, Le Doulos). Each criminal character adds a completely different flavour to each film and their interaction with the cops makes for an intriguing intellectual battle.
The only criminal who appears to be untroubled by law is Bob because his extensive network of contacts allows him to be in the know and have a few cops in his back pocket. For example, only Bob can have such a conversation after getting arrested:

Cop 1: Criminal intent will get you five years but with a good lawyer, you could get it down three years.

Cop 2: With a better one, no criminal intent! You could be acquitted.

Bob: With a really top lawyer, I could sue for damages.

While criminal characters take center stage in Melville's films, police characters also get worthy camera time. The films present hurdles police face in order to solve cases and portray cops as intelligent and honest men, who are aware of the limitations of their jobs. In both Le deuxième souffle and Un Flic the cops talk about requiring some luck or clue to proceed forward in their investigations. In Un Flic, the importance of public help is emphasized in order to crack a case and fight off the public's ridicule of police.

In Le deuxième souffle, Commissaire Blot (played by Paul Meurisse) utters truth rarely seen in crime films:

We’re policemen, not magicians.
If some little thing doesn’t come along to help us, Gu will escape. End of story.
That leaves just luck..or chance. Call it whatever you like. We just need one tiny lead and we’ll work it to the very end.

The job of police officers is always tougher than criminals as cops have to work within a constrained law & ethical framework in order to solve their cases. Whereas, by definition criminals are those who break the law, so they are free to use whatever means possible to achieve their goals. But both Le deuxième souffle and Un Flic show that police have to push the boundaries of that framework as much as possible, even carve a few holes, to get a step closer to the criminals. For example, in Le deuxième souffle Blot uses a small time crook to trick Gu into spilling the beans and then records Gu’s confession, a tactic that enrages Gu as being unethical and a betrayal of the old times when cops and gangsters never mingled with each other.

Despite their tactics, both opposing sides of cops and gangsters understand each other and this understanding allows each to guess the other’s moves and not waste time. At the start of Le deuxième souffle, after Blot arrives at a crime scene in a restaurant, he knows there is no point in getting a confession from anyone at the restaurant because no one will provide any information. So Blot goes about narrating everyone’s alibi/confession and naturally he is proven right. No one indeed saw or heard a thing, even though gunshots were fired in plain view of everyone.

The films also manage to provide valuable screen presence for fringe characters hovering around the criminals and cops thereby painting a more complete picture of the criminal universe. However, some of the most delicious scenes in these films, especially in Un Flic and Le deuxième souffle, involve face to face encounters between the criminals and cops. These encounters allow the two opponents to assess each other and detect any sign of weakness which can be exploited later on.

The hierarchy

In Un Flic, three different roles of a heist are defined:

The holy trinity: the criminal, thief and the runner

The criminal occupies the top spot in the heist hierarchy and is the mastermind behind the plan. A thief is a rung lower than the criminal so naturally the police are more interested in catching the criminal than a petty thief. The runner/driver/look-out occupies the lowest rung and his capture is next to meaningless as most often he is not aware of the heist details.

However, a heist needs money. A fact illustrated in Bob the Gambler when Bob identifies the need for a financier willing to put up a money for their heist plan. A financial backer could potentially share the top hierarchy with a criminal, depending on the relationship and history between the two.

If a criminal cannot make do without a money man, then the police cannot do without an informer required to keep tabs on the criminals. Silien (Jean-Paul Belmondo, Le Doulos) plays such a useful informer and in Un Flic, it is due to an informer that Commissaire Edouard Coleman (Alain Delon) is able to come close to nabbing Simon.

Planning, Execution & Analysis

The five gangster films are meticulous in either the planning of the heist (Bob the Gambler) or in execution of the crime (a magnificent 20 minute dialogue free helicopter/train robbery in Un Flic and a house robbery in Le doulos).

When it comes to analyzing the crimes, the police are shown to be equally competent in determining how the crime was committed (Un Flic, Le Doulos and Le deuxième souffle). Such attention to detail enriches all the films and ensures no plot holes will tarnish the films.

Out of the 6, I had seen Le samouraï previously, a film that I admire a lot. Overall, all the films are highly engrossing and a pleasure to watch.  However, I was absolutely amazed by Le deuxième souffle which is going to rank as my #2 Melville film behind Army of Shadows. Le deuxième souffle is a perfect depiction of the cop vs criminal mind games and also shows the value of loyalty in the criminal world. It also appears to be an underrated film that needs to be seen more and talked about in the same spirit as Army of Shadows & Le samouraï.

Sunday, December 19, 2010

Carlos -- conversations, cigarettes and women


London, Paris, Beirut and back to Paris again. All in the opening 10 minutes. In the next 20 minutes, Hague, Yemen and Vienna are added to the travel itinerary. Welcome to the world of Carlos. A world defined by the constant lighting up of cigarettes, intense conversations about revolution, kidnappings and assassinations, and steamy sessions of sexual intercourse. Olivier Assayas' remarkable film is not a history lesson but instead picks certain key moments from Carlos’ life and weaves them into a coherent work that allows the audience to get a sense of Carlos’ ideas, his lovers and his shifting views. The three part film depicts Carlos’ transformation from a revolutionary with ideas to topple the system into a mercenary, a gun for hire. By the conclusion of the film, Carlos is a washed up terrorist who poses no real terror threat to anyone. So it is not surprizing to discover that he is captured at this stage, when he is fat, has no money or friends. Assayas is also interested in using the film as a lens to depict the complex international political games where rival enemy nations become friends the next day and vice versa.

Money, Passport & Diplomatic immunity

Any large scale terrorist operation requires money, lots of it. Surprizingly money is relatively easy to obtain for terrorists as almost all governments seem to have some set aside for destructive purposes. The rich nations spend oodles of money not only on their armies and weapons and but also on supporting rival nation’s groups, while less fortunate nations also allocate money for individual groups/mercenaries to carry out their terror plots. With money being no issue, it is a bigger challenge to obtain diplomatic immunity as only few nations can offer that security to hide terrorists.

Assayas’ film illustrates that no large scale terrorist operation can take place without a government’s knowledge. That government could be a domestic one or it could be a rival nation but some level of government has to be involved for a terrorist to slip through international borders undetected. For example, in the film it is the Syrian government that gives Carlos a diplomatic passport with a fake identity enabling him to easily fly across various countries and receive weapons in diplomatic packages. In Eastern Europe, Carlos plays the Soviet Union comrade card and gets full cooperation from East Berlin all the way through to the Kremlin because he proclaims to be fighting for communist ideals, while managing to fight for Palestinian freedom & Arab values at the same time. His words allow him to setup base in Hungary in full view of the Hungarian police who are powerless to stop him initially but only ask Carlos to leave after international pressures force the Hungarian government to distance themselves from him.

All the intelligence and spy missions won’t come close to arresting a major terrorist as long as he is protected by a diplomatic umbrella. Once that umbrella is removed, then rival spy services can move in and claim their prize. The French, aided by American intelligence, capture Carlos in Sudan but that was made possible because Carlos had outlived his usefulness and the Syrians gave him up.

Mirror Mirror

On one hand, one can understand Carlos’ political agenda by observing his interactions with governments/diplomats. On the other hand, Carlos’ relationship with the various women offer an insight into his insecurities and emotions. If the casting of Édgar Ramírez is perfect for Carlos, then the various women roles are perfectly cast as well as they form a valuable aspect for deciphering Carlos.

At the start of the film, Carlos is shown to be sophisticated, charming and brimming with revolutionary ideas. It is not surprizing to find him associate with an equally charming revolutionary over fine dining. At this stage, Carlos is mostly about ideas with very little action under his belt.


Once Carlos achieves success with his actions, his growing fame allows him to attract starry eyed admirers, whom he naturally educates about revolution. It is clear that Carlos will not associate with any woman who has a differing opinion to his and as a result he opts for a young woman willing to worship his every move.


The young girl is mesmerized by Carlos and his weapons. Carlos can merely utter words such as Weapons are an extension of my body and the girl is willing to have a foreplay session with a grenade.


But Carlos draws too much attention to himself and has to leave the country. Ofcourse, it does not matter where Carlos ends up because he can bed any woman. A fling on the beach with an unnamed woman follows.


Throughout his life, Carlos continued to utter his allegiance for the Palestinian cause even when he completely drifted away from any Palestinian issue. As Carlos’ revolutionary ideas are moulded into cold blooded killings, he meets his match in Magdalena Kopp in a Baghdad hotel. Magdalena is the only woman Carlos encounters who carries a gun and the two hit if off. Her icy behaviour mirrors the cold war nations they find themselves in and the Eastern Europe phase in Carlos’ life.


Carlos is shown to get easily bored, so it is not surprizing to see him get tired of Magdalena, especially after she has their child, thereby reducing her sexual appeal. By this stage in his life, Carlos is fat and not the thin suave man he once was. So predictably Carlos yearns for a youthful lover and he finds a perfect match in an innocent college student, who is willing to quietly stand by her man, through his worsening health.


The film shows that women were Carlos’ weakness. Even if he had a girlfriend or a wife, he still sought out sexual pleasure via prostitutes. On two occasions, Carlos’ interactions with prostitutes allow police/government to get information about him. In Sudan, Carlos lived under a false identity but he was discovered after a prostitute encounter reveals his lie. The discovery starts a chain of events which leads to his capture.

only 5.5 hours?

At first, the film’s total running time seems daunting. However, Carlos moves at such a brisk pace that the length is never felt. The film quickly weaves through the globe in Part I, focuses mainly on the botched hijacking in Part II and finally slows down to catch its breath midway through the third part but by then one wants to hold onto each passing minute tightly before the film’s inevitable conclusion.

Tuesday, December 14, 2010

Band Baaja Baaraat -- Dilli Delights

Band Baaja Baaraat (2010, India, Maneesh Sharma)



Maneesh Sharma makes an impressive debut with Band Baaja Baaraat, a film that does the tough job of beautifully portraying Delhi's charm while also juggling an engaging relationship tale. Now, showcasing Delhi's charm is not an easy task to pull off and traditionally the city has been underrepresented in Indian cinema. Mumbai is the home of Bollywood and amply depicted by both Indian and foreign directors, while Kolkata forms the hub of Bengali directors and often seems to catch the eye of other Indian filmmakers seeking to add a historic charm to their stories. The exotic beauty of Goa and Jaipur is also nicely captured by Indian directors while for the most part Delhi’s cinematic presence is restricted to a few token shots of India Gate, Qutab Minar, Rashtrapati Bhavan and Chandni Chowk. Of course, Delhi’s cinematic shyness can be understood to some extent as it is not a city that openly seduces any visitor on a first glance. In fact, the almost always grayish city appears to be designed to push away a first time visitor as it does not possess the vibrancy of Mumbai, the beaches of Goa or the opulent palaces of Jaipur nor does it boast a central core where the best of the city is on display. The circular Connaught Place may be a busy visiting center but it does not possess an immediate wow factor. On the other hand, the charm of Connaught Place is discovered by spending time, walking from block to block, and unearthing some precious treasure tucked away in a corner. That patient examination is required for the rest of the city as well. The true charms of Delhi are locked away in individual urban areas/colonies located hours apart and discovering the true beauty of the city requires time and energy that most visitors may not be able to afford. When one reaches a colony then one has to take time to discover a magnificent bookstore, a marvelous dhaba or a charming restaurant. On top of that, Delhi is a city that is haunted by history at almost every corner. Like Rome, Delhi’s past in the form of ruins oversee the millions traveling across the city every day. Such history is easily overlooked when one is crawling through the city’s numerous traffic packed lanes.

Thankfully over the last decade, Delhi has gotten a closer cinematic look. Mira Nair portrays a bit of the city’s beauty in Monsoon Wedding, Dibakar Banerjee’s trio of films, Khosla Ka Ghosla, Oye Lucky Lucky Oye and Love, Sex aur Dhokha are wholly rooted in Delhi’s essence, Rakeysh Omprakash Mehra’s Rang De Basanti captures some of the city’s youthful attitude and energy, Siddharth Anand Kumar & Ankur Tewari’s Let’s Enjoy perfectly depicts the farmhouse party scene in Delhi and Anand Kumar’s Jugaad puts a humorous spin on the real issue of sealing commercial shops in Delhi and accurately shows how things can still get done despite obstructions. Ofcourse, not all Delhi based films have worked out too well. Rakeysh Omprakash Mehra’s Delhi 6 did not have the authentic feel like Rang De Basanti did while Anand Kumar’s Delhii Heights could not move beyond weakly etched characters living in apartment complexes of Gurgaon. If a filmmaker has to make a good film about Delhi, then they must be willing to embrace the city's beauty and ugliness while accurately portraying characters raised in the city’s essence.

Maneesh Sharma has done his homework and as a result his Band Baaja Baaraat can now add its name to films that do Delhi justice and in a sense his film contains a tiny spirit of the above films. BBB combines the energy of Rang De Basanti, the wedding element of Monsoon Wedding, true Dilli dialogue/characters of Dibakar Banerjee’s films, the farmhouses of Let’s Enjoy and the improvisational aspect of Jugaad.


The tagline of Band Baaja Baaraat is “Shadi aapki, tension hamaari” (your wedding, our tension). Now all weddings are a tense affair but a wedding in Delhi brings an extra set of challenges. Delhi's wedding season is just a few months long and based on the auspicious dates given by a priest, only a handful of dates get the biggest number of weddings per year. For example, back on Dec 13 2006, 30,000 weddings were held in a single day and in 2010, the added lure of Valentine’s day & an auspicious date meant that 16,000 weddings were held on Feb 14 alone. Such high numbers stand out but in reality, it is quite common to find thousands of weddings taking place on a single day each wedding season. In a city of more than 13 million people, this huge number of weddings on a single day creates an extra burden on the road systems especially since the shortage of wedding venues requires people to travel from one end of the city to another, not to mention the multiple baaraats and bands also attempting to make their way across the city. On top of that, a lot of the priests and wedding bands are double or triple booked for the same time slot. It is not uncommon to find priests rushing from one wedding to another and band’s arriving late to a wedding because of their other commitments. In such scenarios, holding a wedding in Delhi is a massive challenging affair. So the story of wedding planners set in Delhi makes complete sense.

Band Baaja Baaraat highlights some of the challenges of holding shaadis in either tight alleys of Delhi or in large lavish Sainik farmhouses. With all the challenges, the only way a wedding can be successful is with a degree of improvisation and this is accurately shown in Sharma’s film. One example illustrated is when the wedding planners hit a hurdle in trying to find a caterer within a budget, they get a valid tip from Maqsood (Neeraj Sood) the flowerist. Such tips are common in Delhi where it seems a marriage cannot take place without depending on a contact’s contact. The wedding details are shown in a humorous yet accurate manner but the film really shines in its depiction of the relationship between the two lead characters of Shruti and Bittoo (played brilliantly by Anushka Sharma and Ranveer Singh respectively). There was a time in the late 1970’s and 1980’s when Yash Chopra’s films went beneath the surface to get at the core of a relationship but ever since his son Aditya Chopra entered the frame in the mid 1990’s, relationships shown in Yash Raj films are all superficial and restricted to cute infatuations. However, the ugly nasty side of relationships is remarkably shown in BBB. After Shruti & Bittoo end up sleeping together, their relationship gets naturally complicated. A difference in expectation leads to a conflict where the two end up becoming bitter enemies and end up at each other’s throats like a married couple. Yet, even in their moments of hatred, the two are able to work side by side with each other because of their strong friendship. A good friendship is essential to any successful relationship and in this regard, Shruti and Bittoo’s interactions make sense. The two are able to work so well because they are aware of each other's likes and dislikes. Throughout the film, the two characters behave according to their personalities and as a result, everything that occurs in the film is entirely believable and does not require a leap of faith.




BBB also shines on the musical front. With the exception of the Dum Dum Song, all the other musical numbers have a place in the film. The opening credit song perfectly lays the framework for the two character’s history and gives us an idea about their personalities. Most Bollywood films spend three hours covering the same ground the opening credit sequence does in a matter of minutes. The title song is perfectly used to increase the tempo of the film and Ainvayi Ainvayi is an infectious dance number.



However, Dum Dum is out of place although it is a lavish over the top number found in a Karan Johar or Aditya Chopra film. If the price of making a fine film like BBB means having a throw away song, then it is a small price to pay.

It is indeed a pleasant surprize to find a wonderful film can still be made from a first time director embedded in the current Bollywood studio model but interestingly, Yash Raj Films have previously given another new director a chance to shine. In Chak De India, partly shot in Delhi, Shimit Amin was allowed to freely move his camera around the newcomer actresses and was not required to ensure the camera stayed focused only on Shah Rukh Khan. BBB remarkably does away with any big stars, with Anushka Sharma the only recognizable face and this is only her third film, after she made her debut opposite SRK in Rab Ne Bana Di Jodi. Lastly, Band Baaja Baaraat also shows that it is entirely possible to make an entertaining film without requiring the audience to “leave their brains at the door.”

Saturday, December 11, 2010

Dec --> Jan films

The final few weeks of December are always a busy time for Hollywood film releases but in the past, I have had to wait until mid-January to catch some of the big buzz films such as The Wrestler, Gran Torino, There Will be Blood and Children of Men because of delayed release cycles across Canada. This year, it seems it will be the turn of Black Swan to get a January release. Currently, only three Canadian cities are playing Black Swan, with Toronto showing the film in 5 theaters, Vancouver in 2 and Montreal in a single cinema. In fact, the AMC Dundas in downtown Toronto has a staggering 16 shows of Black Swan on both Saturday and Sunday. However, the rest of the country will most likely have to wait until the first 2 weeks of January to see what the noise is all about.

While Black Swan still has no local release date, some interesting Indian films have confirmed dates for a Calgary release.

1) Dhobi Ghat -- I missed seeing Kiran Rao's debut film at TIFF so I am glad to know it is releasing on January 21.



2) No One Killed Jessica -- Raj Kumar Gupta's debut film Aamir was impressive so curious to see how his second feature turns out. Ofcourse, the headlines will be stolen by the pairing of Rani Mukherjee & Vidya Balan. Jan 7 release.



3) Utt Pataang -- Srikanth.V Velagaleti makes his directorial debut with this Vinay Pathak - Saurabh Shukla comedy out on Jan 21. Any Vinay Pathak film is an event to look forward to and this one has the bonus of being written by Saurabh Shakula. Interestingly, Rajat Kapoor & Ranvir Shorey are not involved with the film so Pathak and Shukla will have to carry the film on their own.



4) Dil Toh Baccha Hai Ji -- Madhur Bhandarkar's new feature is out on Jan 28 and it is surprizing to see Bhandarkar try his hand at comedy as he is known for more hard hitting films such as Satta, Fashion, Traffic Signal, and Chandni Bar. The comedic style appears to be taking a page out of 3 Idiots book but the film title is clearly taken from the soul stirring track from Ishqiya.



Ofcourse, Sundance kicks off on January 20th and Rotterdam starts on Jan 26. For me, Rotterdam officially kicks off a new film festival year but it seems strange to be talking about 2011 films when I am still waiting to see many 2010 films such as Gaspar Noé's Enter the Void.
[Update Dec 15, 2010]

Black Swan will open on Friday, Dec 17 so I will not have to wait until 2011 to see it.

Tuesday, December 07, 2010

Around the world in 24 films

Just a brief mention of some worthy newer films from around the world. Some of these films will surely end up in my year end best list.

Note: films arranged as per country.

El Camino du punto (2010, Argentina, Sebastián Díaz Morales)

The title's translation, The Way Between Two Points, perfectly sums the film which is about a character's journey from point A to point B. There are only a few minutes of dialog at the start and these dialogues are the weakest aspect of the film as the words needlessly try to give the story a higher worldly purpose. After the words are delivered, the film settles into a beautiful journey where we get both an overhead shot of the landscape that is to be covered and the ground level footage of the journey. The singular focus of the journey at all costs reminds a bit about The Limits of Control and Birdsong but El Camino du punto is free from any dramatic or religious baggage of those two other films.

Kill the Referee (2009, Belgium, Y.Hinant/E.Cardot/L.Delphine)

This Belgium soccer documentary does not have any narration or title cards to guide the audience but instead dives right into the action. Like the Zidane film, this documentary gives a completely different perspective to what one experiences when watching a soccer game. One gets to see the game from an on-field angle, but instead of a player's point of view, we see the game from a referee's angle.

This film is essential viewing for anyone who has ever seen a soccer game. And since the film is artistically shot and edited, it offers non-soccer fans plenty to chew on as well. The games shown in the film are from Euro 2008 and if a person is familiar with some of the players, then that enhances the experience. This film does an excellent job in showing us the human side of the refs and also some of the egos that operate in the game.

A Simple Rhythm (2010, Canada, Tess Girard)

A poetic and mesmerizing look at simple day to day rhythms that shape our lives. The film artfully layers images with sounds to create a calming and fascinating experiencing. In between the images are thoughtful interviews on a variety of subjects, ranging from music to mathematics.

Viva Riva! (2010, Congo co-production, Djo Munga)

In the TIFF write-up, Cameron Bailey noted:

Finally! An African feature film that merges the pleasures of Nollywood with sleek camerawork, satisfying genre thrills and a rare look inside the very heart of the continent. Viva Riva! is unprecedented: a story set in contemporary Democratic Republic of the Congo full of intrigue, music and a surprisingly frank approach to sex.

That is a perfect description as Viva Riva! molds elements of oil trafficking, corruption, violence and sex into an enjoyable film. In the fashion of Nollywood films, the villain is sinister and over the top while the hero, Riva, is a charming intelligent man who can have any woman he wants. Ofcourse, Riva falls for the one woman who will lead him into trouble but Nora is too seductive to resist. The camera ensures that Nora's beauty and Kinshasa's buzzing street life are captured nicely.

Valhalla Rising (2010, Denmark/UK, Nicolas Winding Refn)

The film starts off in an ancient time when men settled their disputes face to face in a bloody hand to hand combat. However, as the warrior crew enters a new land, the change in warfare tactics ensures that man will have to learn to adapt in order to survive. In the new land, arrows fired from unseen enemies lead to death meaning one could die at the hands of someone they do not even see.

A savage bloody film that is also one of the year's best.

Scheherazade Tell me a Story (2009, Egypt, Yousry Nasrallah)

The film uses a soap opera/talk show format to probe at deeper issues not only within Egyptian society but the rest of the Middle East especially regarding the treatment of women in households and at workplaces. It helps that the film is well acted and packed with more gorgeous women than one would find even in a Pedro Almodovar movie. Overall, a pleasurable film.

Steam of Life (2010, Finland, Joonas Berghäll/Mika Hotakainen)

A beautifully shot contemplative film that places the viewer in an awkward
position of a voyeur observing Finnish men pour their heart out while sitting in a variety of saunas. The film remarkably shows that any enclosed space can be transformed into a sauna, even a phone booth, and the calming effect of the steam is essential to allow men to tackle life's daily burdens.

Win/Win (2010, Holland, Jaap van Heusden)

This Dutch film about a stock exchange manages to find a calm balanced middle ground in between Ben Younger's Boiler Room and Aronofsky's Pi. In fact, the main character in Win/Win Ivan looks like a more laid back version of Max from Pi. Win/Win artfully shows that it is possible to find zen like moments even in a high octane stock market setting.

Gallants (2009, Hong Kong, Clement Sze-Kit Cheng/Chi-kin Kwok)

A homage to the 1970’s Shaw Brothers films, complete with amazing fight sequences, memorable characters and over the top hilarious situations. Even if one is not familiar with older kung-fu movies, this film stands on its own. Knowing about the Shaw Brothers films will just enhance the experience. There are some moments when the action stalls but the film has many high energy moments. The homage would have been perfect if the film title was something which captured the story’s spirit such as “Gates of Law” or if the title used a variation of the words “Dragon”, “Tiger” or “kick”.

Ocean of an Old Man (2008, India, Rajesh Shera)

Simple. Beautiful. Meditative. Haunting. Tragic.

The old man in the title is played by Tom Alter, easily recognizable to Bollywood fans because he always played an evil villain in Indian films, and was almost always an evil British general in period films. In Rajesh Shera's film, Alter's character plays a school teacher who is devastated by the loss of his wife and daughter in 2004's tsunami. Unfortunately, he can never forget his loss as he has to cross the same ocean everyday to teach his students. To make matters worse, he has to listen to the ocean waves crashing onto the shore and rocks every night while in the day, his students paintings and stories revolve only around the ocean.

There isn’t much dialogue in the film but that does not matter because the beautiful images and fascinating sounds convey the tragedy and gravity of the situation. Also, the sound track is smartly turned off when the sounds of the ocean fill the screen. The minimalist style might frustrate some viewers but patient viewers will be rewarded with an absolute gem of a film.

Peepli Live (2010, India, Anusha Rizvi)

A smart satire that uses the real life story about farmer suicides to poke fun at the mercenary Indian satellite tv channels preoccupied with ratings. However, Peepli Live does feel like two films in one. The film starts off in the village but then lets the media circus take things over. At times, the two stories (farmer suicide, tv ratings circus) compete with each other and eventually the farmer story is brushed aside. Also, there are some moments where the film un-necessarily goes over the top (such as the mention of Saif Ali Khan's grade 8 kiss) when a more subtle approach would have sufficed.

Overall, it does feel like a lost opportunity to make a truly great film. That being said, the ending is perfect when the camera shows us images without any words.

Gorbaciòf (2010, Italy, Stefano Incerti)

The sound of Gorbaciòf's proud walk on the streets and the sound of money stay long in the memory after the film ends. Many films show bundles of money but not many films actually let the sound of crisp notes being counted filter through to the audience. Gorbaciòf counts money everyday both in his day job and at night with his bribe money. The dangerous combination of taking bribes and gambling is never a safe bet for a trouble free life but Gorbaciòf's problems multiply when he falls for a Chinese woman who does not speak any Italian. Gorbaciòf wants to be the woman's knight in shining armour and in order to ensure a better life for her, he needs more money. That need leads him down a slippery yet predictable slope. The love angle is the film's weakest aspect and if it were not for the love story, Incerti's film would be one of the year's best films.

On another note: the male leads in The American, Gorbaciòf and The Robber are all related with their dangerous ways of life. It is not surprizing that the ending of all three films finds these three very different men (an American, Austrian and an Italian) in the exact same situation looking through the glass towards a better future.

The Tiger Factory (2010, Malaysia/Japan, Woo Ming Jin)

The film follows a young girl, Ping, in her attempt to gather money to illegally leave Malaysia for Japan. Ping's life is controlled by her aunt who witholds her passport and pays for men to get Ping pregnant so that the aunt can sell the baby. The story sounds bleak but thanks to the cinematography and lighting, the film does not feel gloomy and instead makes for a fascinating viewing. The style evokes the Dardennes, albeit with a bit of lightness.

Woman on Fire Looks for Water (2009, Malaysia/South Korea, Woo Ming Jin)

This is one of the most visually beautiful films of the year!! The film is about two love tales on opposite ends of the age spectrum. One story shows how a young boy is forced to take his family's fortune into account before deciding upon marriage while the other story shows if love is not truly acknowledged, then even at old age, it continues to torment and bite. In between these two stories, there are many remakarable shots which show the fishing business and every day life, plus there is plenty of humor shown in a subtle manner.

Kinatay (2009, Philippines, Brillante Mendoza)

The first 20-30 min of Kinatay perfectly capture the sights and sounds of the street life. After that, the camera moves inside a van and this is where the negative publicity regarding the film starts. Although it is hard to understand what all the fuss is about because there is nothing graphic or gory that is shown but instead we mostly listen to sounds of the horrible butchering and only see a tiny glimpse of the murder weapon. The briefly lit scenes allows viewers to fill in the horror themselves using the audio cues. Maybe in a theater, these audio cues are magnified thereby causing a claustorphobic effect.

Still, the film is powerful in how it goes about showing what it does and it is hard to be not shook up by the ending. I can see why Mendoza was awarded the best director for this film in Cannes 2009.

Lola (2009, Philippines, Brillante Mendoza)

Lola is a touching film regarding two grandmothers and how they go about dealing with their lives while finding themselves as opponents in a criminal case. One woman is seeking justice for her grandson’s murder, while the other is trying to save her grandson from going to jail for murdering the other woman’s grandson. The film switches perspective from one grandmother to the other and this method highlights many relevant points such as the true price of justice for people who are trying to make ends meet.

Manilla Skies (2009, Philippines/USA, Raymond Red)

The start gives a false impression of being another film depicting the frustration of being jobless in a major Asian city but the story then takes a dramatic turn towards a heist and an even more unexpected turn towards a plane hijacking. The cyclic nature of the ending, when one of the final scenes is neatly tied with the opening shot, depicts a beautiful pattern to the story. The lead performance is amazing and the film grows in strength as it moves along. Also, the dark/grayish visuals perfectly echo the gloomy mood of the character's situation. Amazingly, the film is inspired by a true story.

Essential Killing (2010, Poland co-production, Jerzy Skolimowski)

Like in Valhalla Rising, the male lead in Essential Killing never speaks a single word. Yet, Vincent Gallo's character does not need to talk as his expressions of pain and anguish perfectly convey his inner feelings. Gallo plays a taliban fighter who is captured in Afghanistan but finds himself on the run in a frozen European country side after a series of events lead to his escape. From then on, the film alternates between chase scenarios as the dogs/soldiers close down on Gallo's character and survival scenes where his character does anything just to survive in the brutal cold. It is understandable to see why Gallo won best actor in Venice for this film as his raw performance shows how much can be conveyed without needless dramatic dialogues.

Between Two Worlds (2009, Sri Lanka, Vimukthi Jayasundara)

This Sri Lankan film is a good example of what Bresson mentioned in his book, Notes on the Cinematographer, in the Sight and Hearing section:

”What is for the eye must not duplicate what is for the ear."

”If the eye is entirely won, give nothing or almost nothing to the ear. (And vice versa, if the ear is entirely won, give nothing to the eye.) One cannot be at the same time all eye and all ear.

”If a sound is the obligatory complement of an image, give preponderance either to the sound, or to the image. If equal, they damage or kill each other, as we say of colours.


Between Two Worlds has a beautiful visual and aural language while the story has a nice fable and mythical element to it. There are some scenes which fluidly mesh the imagined and real with a smooth easy manner. The only minor complaint is that some scenes appear staged, drawing attention to themselves and thereby weakening the dramatic effect of the situation. Two such examples are the youthful mob at the film's start and the dance by the river near the end.

Guest (2010, Spain, José Luis Guerín)

Guest is José Luis Guerín's travelogue of his year long film festival circuit tour from September 2007 till September 2008 with his film In the City of Sylvia. Even though Guest starts and ends at the Venice Film Festival, Guest is not a documentary about film festivals. Instead, it is a truly global film that gives a glimpse into everyday life in open public squares in various places such as Bolivia, Columbia, Peru, Brazil, Mexico, Cuba and Hong Kong. Places that do not have open squares are not covered by his film which naturally means that Canada and the US are not shown on the screen. For example, Guerín was in Vancouver in 2007 to premier In the City of Sylvia but Vancouver does not get a single shot in the film. Basically, any place that did not have adequate public space would not have allowed Guerín to interact with the locals and get their views. Guerín freely filmed everything around him and was not shy to keep his camera rolling. As a result, we get to witness some fascinating parallels regarding religion in diverse places such as Brazil and Hong Kong. Guest takes about 20 minutes to spring to life but once it awakens, it has plenty of interesting stories to share.

Woman without a Piano (2009, Spain, Javier Rebollo)

A sublime film that uses a low key treatment in depicting a single night's events. The camera quietly follows Carmen around and the events that unfold around her are hilarious and sad at the same time. The film is set in Madrid and in some alleys we see situations which Pedro Almovodar uses in his films but Woman without a Piano is an art film through and through, with a pinch of comedy.

Uncle Boonmee Who Can Recall His Past Lives (2010, Thailand co-production, Apichatpong Weerasethakul)

Joe's film is a visual treat like his previous works but instead of the two part structure found in Tropical Malady and Syndromes and a Century, Uncle Boonmee is a single flowing work that manages to blend the two worlds of humans and spirits. This is his most accessible work and also his most openly political. In Blissfully Yours one could faintly hear the tank fire going on in the distance but the soldiers were not shown. However, in Uncle Boonmee we get to see futuristic pictures (really the present) of army actions. As enchanting as the film is, it pales slightly to the hypnotic beauty of Tropical Malady and Syndromes... Still even a Joe lite work is better than most current world cinema.

Four Lions (2010, UK, Christopher Morris)

A well made and acted film from the two writers of the witty In the Loop. Four Lions tries to use the same humour style of In the Loop with mixed results. The humour style of In the Loop made sense because it dealt with the circus like world of politics where a single sentence can be endlessly interpreted and rehashed. However, that style is more difficult to pull off with a topic of terrorism and suicide bombers. In that regard, one can watch Four Lions in a state of shocked horror and find it entirely offensive. The film is also brave in its treatment of the subject, especially since neither of the writers or director is Muslim.

Spoiler note:*****

Credit must go to the film-makers for remarkably maintaining the same consistent tone throughout even after the characters start dying whereas it would have been easier for the film to have taken on a more serious tone after the first accidental death.

Monogamy (2010, USA, Dana Adam Shapiro)

A fascinating modern day treatment of Antonioni’s Blow Up. Blow Up was made during the free love decade where the main character had no problem getting any woman he wanted so solving the murder mystery became a more important challenge for him. But in modern times, free love isn’t that readily available. And the presence of email and text messaging has changed the nature of relationships by limiting face to face hook ups. As a result, Theo’s (Chris Messina) “free love” is reduced to a voyeuristic kick. Things are complicated by the fact that Theo is on the verge of getting married and already he feels the walls closing in on him.

The acting is stellar, especially in the scene where Theo’s fiancée catches him looking at pics of another girl. The ending is not as dramatic as we are led to believe. The true identity of Theo's subject is quite clear but maybe the ending was supposed to emphasize that Theo was so blinded by the little details in the photos he took that he missed the obvious bigger picture.

Top 5 in order of preference:

1) Kill the Referee
2) Ocean of an Old Man
3) Woman on Fire Looks for Water
4) Valhalla Rising
5) Uncle Boonmee Who Can Recall His Past Lives

I cannot praise Kill the Referee enough. The fact that the film is about soccer is also its biggest handicap because that would mean limited release and certainly no press coverage in North America. I have read rumours that UEFA might have had the final say on what could make the final cut but regardless of the truth, what is presented on screen is fascinating enough. The footage allows the audience to identify some of the egos, heroes and villains that operate in the game.

Sunday, December 05, 2010

Recycle, Rob & Report

Waste Land (2010, Brazil/UK, Lucy Walker)

Beauty is in the eye of the beholder

That beauty can be a woman or a stunning painting. Or it could be a pile of garbage. Or it could be all of those things put together.


Luck Walker's wonderful documentary follows Vik Muniz on his quest to transform objects from Jardim Gramacho, the world's largest landfill located in Rio de Janeiro, into a work of art. The first images that he encounters in Jardim Gramacho are large piles of garbage but once Vik interacts with some fascinating garbage pickers, then the mountains of garbage fade into the background and the pickers take center stage. Vik's interactions with the garbage pickers enable some of his artistic ideas to take hold. However, Vik's goal is not to do the art on his own but he wants to involve the workers. Also, he plans to donate the money from the art sales to improve the worker's lives. As a result, his artistic collaborations has the potential to transform the lives of some of the garbage pickers. Waste Land is a beautiful touching film that gives voice to people ignored by society and also provides plenty of life changing ideas especially around garbage generation and recycling.
Inside Job (2010, USA, Charles Ferguson)

The art work pictured above in Waste Land ends being sold for 28,000 pounds at an auction where we don't see all the buyers but instead see their proxies following instructions via phone. Considering that there are paintings which are sold in this auction for more than a few million dollars, 28,000 is a drop in the bucket. But who are some of the people who can afford to buy such expensive works?

In Charles Ferguson's engaging Inside Job we get a glimpse of some people who have the luxury to throw millions at a single painting. Such rich people are never satisfied with just one expensive painting. They want to acquire more. For that they need money. Lots of it. And in that greed for generating money for personal benefit, they will go to great lengths, even at times at the expense of others. Such greed certainly contributed to the economic crisis of 2008. Yet, it would be too easy to blame the greed in the 2008 crisis on bankers and financial employees alone. The average person should also be held accountable for wanting to spend beyond their means. What if the average person didn't get a sub-prime mortgage? In the long run that unsigned deal would have meant one less foreclosure. On the other hand, there were cases when the average person was not greedy but just didn't know what they were getting themselves into. Inside Job gives one example of a couple who didn't speak English and signed up for a quick initial low interest mortgage to get their dream house but were then shocked to discover the real monthly payment amounts once the low interest period ended.

Inside Job lays out the step-by-step process by which banks and financial companies committed the ultimate heist. By documenting this robbery, Ferguson's film may be the only sense of justice for some people because the men who committed the financial crimes will get away with their wealth intact. In the film, the people responsible for dismantling the regulations are named yet these people are widely respected in American universities and media. You can be sure in a few years, some of these same people will be hailed as legends. The banks will always be bailed out and bonuses will never go away in the financial sector. And the huge bonuses will continue to be spent on bigger houses, cars, yachts, drugs and prostitutes. Some people are addicted to drugs while others are addicted to bonuses and financial rewards. If there are no laws to keep a check on irregular financial dealings, then financial fraud will continue.

Burma VJ: Reporting From a Closed Country (2008, Denmark co-production, Anders Østergaard)

As documented in Inside Job, the people who questioned the rash financial policies in America were ignored and their words were drowned out by "intelligent" men. If the truth can be plainly ignored in a democracy and financial crimes can still be committed, then one can only imagine how much crime can be committed in a nation where no truth is ever reported. Burma VJ chillingly shows how in a dictatorship reporting images of a peaceful march can be a matter of life and death. Like Inside Job, Burma VJ provides the background story to events that unfolded on television sets around the world. The images of thousands of monks marching on a street were widely seen on tv but the entire process of how those images made it out of Burma was not completely known.
We are supposed to be living in an age of instant information and round the clock news. But the news only seems to report events after they happen. And even then, most media outlets hardly seem to scratch the surface and dig deep to uncover the true story. There are some journalists who have freedom to write the truth but in most cases, one has to wait to read the full story until the journalists publish their books. So in this sense documentaries such as Inside Job and Burma VJ do an excellent job of filling a giant journalistic gap by providing details that often don't get reported via the global media.

Thursday, December 02, 2010

2018 & 2022 World Cup

Men packed in a room. They shake hands, wink at each other and drop their ballots in the box.

Everyone knows the ballots will go towards the nation that will bring these men more personal wealth and fame. But in a silly sense of delusion, soccer fans still expect that the right footballing decision will be made and that the best nation will get the votes.

But this is not fair democracy. This is FIFA.

And this corruption is nothing new. It happened for the 2002 World Cup, then was repeated for the 2006 World Cup and has now taken place openly on Dec 2, 2010.

David Yallop's excellent book How They Stole the Game traces this history of corruption all the way back to the 1970's to the time of João Havelange and Andrew Jennings uncovers the modern day exploits of Sepp Blatter in his eye-opening Foul! The Secret World of FIFA: Bribes, Vote Rigging and Ticket Scandal. Maybe in the future someone will write another book about this corruption or these authors might update their books to include current events. In the meantime, the on-field game will continue to suffer. Professional players will show up tired to World Cup games and not produce results. Fans will lament about the death of good soccer but seriously can good football be played at 50 deg C? Ofcourse, in the past soccer players were forced to play in such scorching conditions (Mexico 1986 & USA 1994) but that was because FIFA deemed the games had to be played at a time suitable for European audiences. The awful world cup final in 1994 was not down to tactics alone. It was down to the unbearable conditions which caused the players to not exert too much energy lest they collapsed in the heat.

New markets have now opened up for soccer, Russia in 2018 and Qatar in 2022, but is it really for the good of the game? Time will tell.

On a lighter note, Qatar is the first nation hosting the World Cup that does not have a thriving film industry. Ofcourse, all that might change in 11.5 years, thanks to projects like the Doha Tribeca Film Festival (DTFF).

Tuesday, November 30, 2010

Arrival City

Arrival City: The final migration and our next world by Doug Saunders

The word slum or favela comes with a preconceived notion of overcrowded shacks, garbage pile-ups, crime and poverty mostly because of television/cinematic images and magazine stories. But who are the people living in these locations and where do they come from? How is their average day spent? How much distance do they travel for their everyday jobs? A 10 second clip on a news channel, where the camera merely pans across the landscape, won't give much answers.

Doug Saunders rightly points out that words such as slum and favela do not highlight the true nature of these locations. Instead, he prefers the word arrival city which properly conveys the dynamic nature of such locations where people are constantly arriving from villages or leaving for middle class neighborhoods. Such ‘arrival cities’, which exist mostly on the outskirts of a city or are hidden within a city's core, serve as a transition point for the new migrants in their attempt to carve out a better life. These locations are not the migrants final destination as may be incorrectly inferred by the stagnant image portrayed by the word slum. In fact, people make an arrival city their first stop because it is the easiest way to establish a footprint in a vast metropolis. The migrants share a common dream that once they save up enough money, they can then move to a better neighborhood and own their own apartment or house. Ofcourse, as a certain percentage of migrants leave an arrival city, another group move in to take their place.

Saunders’ Arrival City paints a vibrant picture about some of the people who have taken the brave step of leaving their village behind for starting life in a new city. He also perfectly illustrates the emotional and financial two-way connection between the arrival city and the village. It is safe to assume that an arrival city will always have a relationship with the vast city’s core but in reality, the arrival city is also tied to the rural homes of the migrants. This relationship between a village and arrival city is similar to that between an immigrant's new nation and their homeland. An immigrant or a migrant is more closer to their homeland and village respectively and often send financial help back home to their family while trying their best to save enough money for moving up the hierarchy in their new metropolis setting. However, the migrants everyday lives can either be nurtured or ruined by state/national government policies and attitudes. This is where Saunders’ book really stands out as he does not merely list individual stories but offers examples of where proper government policies ensure that citizens living in an arrival city can be successfully integrated within a city’s/nation’s fabric.

Arrival City covers many individual cities and villages across five continents and constructs a complete picture right from the creation of the early arrival cities to the current global locations. Ofcourse, one would not expect any less from a fine journalist like Doug Saunders. His columns always offer an intelligent balanced perspective on global issues and are a huge reason why I continue to read The Globe and Mail. Three years ago, I wrote him an email which ended with the following words:

I do hope you have a book planned for the future with a collection of your articles or other writing that you have done during your travels.

Thankfully, that book has now arrived and is one of the most relevant books published in the last few years. I can now put Doug Saunders in the same bracket as Ryszard Kapuściński, Robert D. Kaplan and Eduardo Galeano as journalists whose words are a window into the larger world out there.

Interestingly, 3.5 years ago I was inspired by an article on Iranian cinema by Doug Saunders to do my own mini spotlight on Iranian film. So it seems appropriate that his book should form an inspiration for another cinematic spotlight. However, given the breadth and depth of material covered in Arrival City, it will not be a simple 5-6 film spotlight. Even if I picked a single film from each country covered in the book, it would mean a minimum of 15 titles to cover China, India, Bangladesh, Brazil, England, Germany, Turkey, USA, Canada, Kenya, Columbia, Holland, Iran, Poland and Spain. However, a proper arrival city film spotlight would require at least 2-3 titles per country. An easy solution would be to reference films I have already seen pertaining to some of the book material and only watch new films to fill in the gaps.

Monday, November 29, 2010

Vintage Monday Night Football

Monday evenings are hardly known for soccer stories but today is a Monday that will go down in soccer history. Everywhere, almost every soccer fan, could be found buzzing only about Barcelona's 5-0 demolition of Real Madrid. The heated derby between these two rivals is always an occasion to savor but today's jaw dropping score-line combined with the beauty of Barcelona's play is going to ensure that this game will live long in the memory.

Sid Lowe's column perfectly manages to capture some of the beauty that was in display at the Nou Camp:

Pep Guardiola's side were imperious, their control breathtaking. Speaking of genuinely special, if this was indeed the game that decided the best player in the world, there can be only one answer. Messi failed to score for the first time in 10 matches but his performance – like those of Andrés Iniesta, Xavi Hernández and Sergio Busquets – was sublime. There were fewer brilliant dribbles, less fantasy but there was a stunning assuredness and impeccable precision in the passing. This was the Messi who controls the game and then decides it.

Barcelona 5 - 0 Real Madrid: Nov 29, 2010, Villa double, Messi show



Here are some other vintage La Liga El Clásico derbies:

Real Madrid 2 - 6 Barcelona : May 2, 2009, a double by Henry



Real Madrid 4 - 1 Barcelona: May 7, 2008



Barcelona 3 - 3 Real Madrid: March 10, 2007, Messi hat-trick



Real Madrid 5 - 0 Barcelona: January 7, 1995, Zamorano hat-trick



Barcelona 5 - 0 Real Madrid: January 8, 1994, Romario hat-trick

No way, Jose!!!!

I have nothing against Real Madrid football club but their current manager Jose Mourinho is another matter altogether. His arrogance knows no bounds and he is clearly one of the most disrespectful managers working in the game. Sure he has plenty of trophies to his name but he has achieved those on the back of a dismal game plan of playing negative football, fouling opponents and insulting opposing managers. Mourinho was also responsible for forcing an honest ref like Anders Frisk to retire after Mourinho's lies caused Frisk to receive death threats. Last week, even by his negative standards Mourinho hit a new low when he instructed two of his Real Madrid players to get sent off on purpose so that they would have a clean record for the next round of the Champions League. Yes there are cheats who insult the game every week by diving and rolling about on the ground. Yes there are managers who instruct their players to get "stuck in" and take out an opponent out but even the crudest managers don't ask their players to get red cards on purpose.

So it is with great pleasure to read the following score-line in today's El Clásico derby:

Barcelona 5 - 0 Real Madrid

Barca have their revenge, not only from this season, but from last season when Inter Milan led by Jose knocked Barca out of the Champions League. Mourinho's fans, and he has plenty in the media some of whom hailed last week's red card instructions as genius, will point that this is only his first loss this season and his team can still win multiple trophies. I am sure he will win trophies this year with Madrid but for once beautiful football won over arrogance.

The beautiful football of pass, pass and score wins over the negative instructions of sitting back, fouling and red cards.

Sunday, November 28, 2010

Global Box Office, part II

As expected, Harry Potter and the Deathly Hallows (Part One) dominated the past week's global box office. Harry Potter was the #1 film in all countries it opened except in Turkey where it was at #2:

1 Five Minarets in New York 625
2 Harry Potter and the Deathly Hallows (Part One) 373

Harry Potter opened in 373 Turkish screens earning an average $4,621 per theater whereas The Turkish-American co-production Five Minarets in New York showed in 625 theaters earning an average of $4,590 per theater. On average, Harry Potter earned slightly more so you can be sure that for Part II, Hollywood will try to add a few more screens in Turkey. However, Five Minarets in New York is in its third week and is still putting up strong numbers.

The model that Hollywood clearly follows is to flood as many screens nationally and internationally as possible. In Brazil, Harry Potter.. opened in 1014 screens, more than double the number of screens which played Elite Squad 2 (492 screens).

The same story was found in Japan where the film opened in 872 screens, more than double the screens showing the Japanese film SP: The motion picture yabô hen which in its 4th week still earned a strong $5,853 per theater.

1 Harry Potter and the Deathly Hallows (Part One) 872
2 SP: The motion picture yabô hen 394

Interestingly, the film didn't open in South Korea yet where the local box office is dominated by two Korean films, in their 2nd and 4th week respectively:

1 Choneungryukja 637
2 Boodang Guhrae 337
3 The Social Network 361

In its 4th week and showing in 337 screens Boodang Guhrae earned an average of $4,002 per screen which was slightly more than the opening average of $3,581 put up by The Social Network despite playing in more screens. Traditionally, South Korea is just one of a few countries that has been able to hold off the big Hollywood films with its local cinema, so the strategy in South Korea appears to be hold off releasing the film until maximum profit has been reaped from other nations.

Many nations yet movie to unite them all. So much for cinematic choices.

Friday, November 26, 2010

Film Festivals...

In Richard Porton's TIFF piece, Reginald Harkema provides a key summary:

...Politics are of course (as with everything) a huge part of it. I have become a bit of a drinking buddy with an ex-programmer and he tells me horror stories of films that he absolutely hated and would never program, but because of the stature of the filmmaker (sex, race, celebrity, connection to the festival), they were programmed. I saw this happen this year, too, and one wonders about those many good Canadian films that didn’t get programmed when so many bad films are.

Reginald Harkema is talking about Canadian Cinema but the above statement equally applies to films programmed from any country at a film festival. No film festival can stand up and admit that every single film is selected based on merit alone. The higher the number of sponsors for a film festival, the greater the chance that films will be selected to please some sponsors or board of directors. Ofcourse, the bigger a film festival, the more the number of programmers at that festival. Each programmer has their own cinematic taste so it is impossible that all the films at a festival will suit every programmer, let alone appease every single festival patron.

Porton uses this line to describe the New York Film Festival:

Unlike a “boutique” festival such as the New York Film Festival, which showcases a small number of films that its programmers assert represent the year’s crème de la crème..

New York has a smaller selections of films but even NYFF opened with The Social Network, a Hollywood buzz film. Film Festivals need such buzz films to exist. That is a fact of festival life that cannot be avoided. Based on my programming experiences at local film festivals (CIFF, CPAFF), I have come to believe a film festival needs a certain commercial vs art film ratio in order to succeed. That means, a festival needs to show a certain number of commercially accessible films in order to earn some profit so as to show the truly artistic films which may incur a loss. This is because there may be only a few cities in the world where art films will make a profit so film festivals have to bend their ways to accommodate various other films that will get the crowds in. Also, art films like commercial films don't come cheap. In fact, every year that precious Cannes film will require almost the same programming fee as that new buzz Hollywood film. Back in 2006, I was able to get a worthy art film for free but that was a rare case and I am certain that will never happen again.

A few of us have worked hard to program that ideal film festival but every year, it is frustrating to see cinematic gems go overlooked while crowds pack substandard films. The irony is that if it were not for the substandard films, then the festival would have suffered a financial loss and been unable to get worthy films the following year.

Film festival goers are a curious bunch though. If they don't like a movie at a film festival, they direct extreme hatred at the programmer or even the film festival, because in their view the film programmer committed a grave sin by booking an awful film. Yet, these same film goers will never direct such venom at a multiplex owner for booking garbage, week in, week out. In fact, people will gladly return to the multiplex the following week despite suffering the previous weekend. But if these same people have a bad experience at a film festival, there is a good chance that they will not return to see another movie at the festival.

Cinephiles will rightly complain about movies a film festival does not book but will then go about ignoring new works from unknown directors, as if the only films worth seeing are from "masters" praised in Cannes/Venice or only films from a certain country are meant to be seen. For example, in my city, some cinephiles assume any French film is automatically superior to any Asian film because in their view the French have a history of good film-making. So they ignore works of art that are coming out of Thailand, China or Malaysia but will sit through any French language film, even if the film is from an unknown first time French director.
In addition...

It is a fallacy to believe that film festivals have the ultimate say in every single selection. The reality is that festivals are sometimes at the mercy of distributors and producers when it comes to showing some films. Of course, since very little is written about the inside workings of a film festival, people attribute the presence or absence of a film to the programmers decisions. Sure festival programmers have to answer for their selections but unseen powers behind some festival decisions are able to avoid any justifications.

Film programmers often have a thankless job because they can never satisfy everyone and there is a good chance they will be criticized by some segment of the film going public, no matter what films they select. Sometimes individual programmers are praised because a critic or cinephile might like that programmer's selections. On the other hand, a programmer who might be dismissed by professional critics might be held in high regard by the festival's board of directors because the programmer regularly picks films that draw crowds.

Popular vs art. The never ending film festival struggle.

Saturday, November 20, 2010

The Ways of Wine & Revolucion

The wonderful Argentine film The Ways of Wine is playing for free on mubi.com, until tomorrow Nov 21.



The film is a self-discovery journey with a touch of humor. In the manner of Paulo Coelho's The Alchemist, the film shows that sometimes one may travel the world to search for meaning but the real answer that they are seeking lies closer to home. Ofcourse, the real learning comes from the journey itself.

Also, the Mexican film Revolución is showing for free on mubi only on Saturday (Nov 20) and Sunday (Nov 21).

Thursday, November 18, 2010

The Global Box Office

This weekend the new Harry Potter movie will clearly dominate most of the global box office ticket sales. There are more than 4000 theaters booked across North America to show The Deathly Hallows: Part 1 and some theaters have a staggering number of shows per day. For example, in Calgary there are a record number of showtimes in most of the multiplexes:

1) Scotiabank Chinook theater has 19 shows per day through the weekend with 15 in the regular theatres and 4 in the IMAX screen. And Chinook also has 4 midnight shows tonight. Previously, a Hollywood film only had one midnight show on Thursday night but anticipating the crowds, Chinook has booked 4 slots.

2) Empire theatre on Country hills has 17 shows per day from Friday through Sunday. After Sunday, they drop down to the low number of 14 per day.

3) Sunridge Spectrum has 15 per day.

4) Empire 10 in the South has 14 shows per day on the weekend and drops down to 11 after the weekend.

5) Westhills has 12 per day.

6) Crowfoot Crossing has 12 per day.

7) Eau Claire only has 2 per day.

So that means on Friday there are a total of 91 shows of Harry Potter and the Deathly Hallows: Part 1 throughout the city. That number goes up if one includes the nearby towns which are within 30 minutes driving distance from Calgary. These high number of shows are not only specific to Calgary but can be found in other Canadian cities. Multiplexes from Halifax, Montreal, Quebec City, Toronto, Edmonton and Vancouver have more than 10+ shows of Harry Potter a day, although two theaters in Greater Toronto standout. The AMC Courtney Park 16 in Mississauga has a jaw dropping 24 shows per day from Friday-Sunday, with 19 in the regular theaters and 5 IMAX shows. But AMC 24 in Whitby goes even further by having 27 shows in a single day (22 regular + 5 IMAX). Whitby's population is only 112,000 but its close proximity to Toronto means that there will be some out of town people driving down to see the film. Also, in Toronto the theaters are starting their shows at 9:30 am but in Calgary we only have shows starting at 11:30 am.

A sampling of some cities across the United States show the same high number of bookings per day, with AMC River East 21 in Chicago showing 27 shows per day and many others from L.A to New York having 10+ shows per day. A theater with a single screen is only able to show 4-5 shows per day due to the film's running time of 2.5 hours. On the other hand, the more the number of screens in a multiplex, the larger the number of shows that multiplex will have.

The film series have a huge following around the world so safe to say, the new film will be deployed on a large scale across the Globe. Also, this is just Part I of the movie. The second part would probably follow a similar booking model and thereby generate more revenue. In this sense, it makes sense for Part I of film to be released in mid-November, before the Christmas season films start getting released so that as many screens can be dedicated to just this one film. At this rate, I am certain that Hollywood and the multiplex theater owners probably never want this franchise to end.

Recent Global Box Office

A quick look at some countries & regional box offices show the reach of Hollywood. As per Boxofficemojo.com, the same few Hollywood titles show up in multiple countries and in some countries/regions, Hollywood easily dominates the top 5. It will be interesting to revisit these charts in a few weeks when a common title will dominate almost all the regions.

note: besides the film title, the number of screens the film showed in is also listed.

Argentina
1 Paranormal Activity 2, 57
2 Saw 3D, 57
3 Due Date, 47
4 The Switch, 36
5 Jackass 3-D, 47

Australia
1 Jackass 3-D, 198
2 The Social Network, 291
3 Skyline, 181
4 Red, 244
5 Life as We Know It, 242

Bahrain
1 Unstoppable, 1
2 The Social Network, 1
3 Eat Pray Love, 1
4 Takers, 1
5 Marmaduke, 1

Bolivia
1 Paranormal Activity 2, 7
2 Due Date, 7
3 Furry Vengeance, 5
4 Garfield's Pet Force, 3
5 Eat Pray Love, 7

Brazil
1 Tropa de Elite 2, 597
2 Red, 207
3 Muita Calma Nessa Hora, 184
4 Saw 3D, 253
5 Due Date, 188

Two Brazilian films show up in the top 5 with Elite Squad 2 managing to show in 597 screens, double the number of screens for the Hollywood films on the list.

China
1 Unstoppable
2 Legend of the Guardians: The Owls of Ga'Hoole
3 Wind Blast
4 Ai chu se (Color Me Love)
5 My Sassy Girl 2

After the top 2 spots are a Hong Kong, Chinese and a Korean-Chinese co-production (My Sassy Girl 2).

East Africa
1 Unstoppable, 8
2 Despicable Me, 3
3 The Social Network, 3
4 Wall Street: Money Never Sleeps, 3
5 Charlie St. Cloud, 2

France
1 Potiche, 440
2 Les petits mouchoirs, 629
3 Due Date, 385
4 Saw 3D, 181
5 Unstoppable, 430

It is not surprizing to see French films in the top 2 spots but Hollywood is certainly making up some ground in France.

The Indian box office, obtained from IBOSNetwork.com.
1 Golmaal 3
2 Action Replayy
3 Endhiran - The Robot
4 Due Date
5 Jhootha Hi Sahi

The two Diwali releases Golmaal 3 and Action Replayy still dominate the charts but Due Date has managed to make the top 5. In Northern India, Bollywood films regularly dominate the box-office and despite its best efforts, Hollywood has not been able to make much dent.

Japan
1 SP: The motion picture yabô hen, 394
2 Ghost: In Your Arms Again, 305
3 Despicable Me, 229
4 Eiga Hâto kyacchi Purikyua! Hana no miyako de fasshon shô... desuka!? 163
5 The Twilight Saga: Eclipse, 264

A Japanese film is at #1 and there are only 2 Hollywood films in the top 5. Interestingly, the #2 film Ghost: In Your Arms Again is a Korean-Japanese co-production remake of the American film Ghost.

South Korea
1 Boodang Guhrae (Conflict of Interest) 523
2 Red, 331
3 Bad Couple, 366
4 Legend of the Guardians: The Owls of Ga'Hoole, 240
5 Devil, 188

Along with India and Japan, South Korea is another country where the local cinema manages to hold off Hollywood on a regular basis. Although this week, 2 Hollywood films and the American/Australian co-production Legend of the Guardians are in the top 5.

Lebanon
1 Red, 8
2 Megamind, 8
3 Saw 3D, 5
4 Unstoppable, 7
5 Due Date, 7

Malaysia
1 Unstoppable, 85
2 Skyline, 85
3 Megamind, 82
4 The Extraordinary Adventures of Adèle Blanc-Sec, 50
5 Takers, 52

The only non-Hollywood film is Luc Besson's French film The Extraordinary Adventures of Adèle Blanc-Sec at #4 which is playing in 50 screens.

Nigeria
1 Unstoppable, 3
2 Takers, 8
3 Machete, 6
4 Golmaal 3, 1
5 Despicable Me, 4

The absence of Nigerian films is not surprizing as the local Nollywood films are sold only as DVDs (pirated and legal). Also, Bollywood films are pretty popular in Nigeria so that explains why Golmaal 3 is at #4.

Peru
1 Paranormal Activity 2, 40
2 Hachiko: A Dog's Story, 22
3 Avatar: Special Edition, 7
4 Jackass 3-D, 10
5 Life as We Know It, 26

Russia
1 Skyline, 891
2 Megamind, 711
3 Due Date, 543
4 Easy A, 272
5 Brestskaya krepost, 542

The Russian war drama Brestskaya krepost is in its second week and still hanging in the top 5. Also, it is showing on 542 screens, just one screen short of Due Date. But Skyline and Megamind clearly have the upper hand on the number of screens in Russia. The end of the cold war is proving to be a good thing for Hollywood.

Singapore
1 Megamind, 57
2 Unstoppable, 29
3 Red, 25
4 Due Date, 27
5 The Social Network, 20

It is not surprizing to see Hollywood rule here as well because the array of shopping malls around Singapore also contain shiny multiplexes.

Thailand
1 Skyline, 171
2 Nam Phee Nong Sayong Kwan, 66
3 Sammy's Adventures: The Secret Passage, 25
4 Due Date, 45
5 Fan Mai, 55

While Skyline dominates the screens, it is nice to see two Thai films in the top 5. The biggest surprize is to see Sammy's Adventure, a Belgian animated film at #3. This film won't probably open in UK and the US until early 2011.

Supply/Demand & the Hollywood/Multiplex model

There is a large demand for Harry Potter and the Deathly Hallows, going by the advance tickets sold already. In Calgary, almost all the Thursday midnight shows are already sold out and most of the Friday evening shows are gone too. So if there are millions of people who want to see this film around the world, then the theaters are merely catering to the masses.

On the other hand, only large Hollywood studios have the deep pockets to create enough prints for the large number of multiplex screens around the world. In the last decade, a huge number of multiplexes have opened up around the world, including North America. These multiplexes need films to pack the people in and large Hollywood studios are able to provide the necessary product. Plus, since a studio can distribute multiple prints, it makes it easier for a theater owner to deal with a single representative from a large studio and co-ordinate the mass deployment of a film.

In India, Bollywood replaces Hollywood as that large studio entity. Key Bollywood films flood the multiplex screens throughout the year. The two recent Diwali films being an example and back in Feburary, it was My Name is Khan that dominated the multiplex. There were hourly shows of My Name is Khan at almost every multiplex in New Delhi and it was a struggle to see anything but Karan Johar's new film. For example, I wanted to see Ishqiya but there was only a single show of the film in two multiplexes in South Delhi -- one show was at 10:25 am and the other show at 9:40 pm. The mass flooding of the multiplex market allowed My Name is Khan to be deemed a success after the opening weekend but one could find empty theaters around New Delhi just a few days after the film opened. In a sense, it was a waste to have the same movie playing everywhere when there wasn't a demand.

In some cases, the demand for a film may exist but in other cases, the big studios try to manufacture demand by having multiple shows of their films. The studios believe if there are few options given to the public, then there is a good chance that people will walk into one of their movies. But I do believe that at the end of the day, multiplex theater owners will show whatever they believe will make them the most money. For example, in December 2008 only one multiplex (Eau Claire) in Calgary showed Slumdog Millionaire. The film put up amazing attendance numbers and as the film continued to gather awards, other multiplexes in the city started showing the film. By the end of January 2009, all the 7 multiplexes in the city where showing the film.

While majority of the multiplexes in North America follow the herd by booking whatever Hollywood dishes out, there are some examples of multiplexes that take the initiative and show atleast 1-2 different titles away from the regular Hollywood pack. The Eau Claire Cineplex in Calgary being such a multiplex. It regularly reserves one screen for an indie/documentary/alternate title on most weeks. Currently, it is showing Inside Job on a single screen, the same as the new Harry Potter film. Last year, Eau Claire was the only multiplex in the city to show both parts of Steven Soderbergh's Che. Also, for the last few years the Calgary International Film Festival has been able to use two of the theater's six screens for the entire 10 day festival duration.

Pop = want now, Art = wait forever

Popular films by its nature have to be seen right away. So if people don't get to see the advance screening or midnight show of the newest studio film, they will try to watch it on the first day or the first weekend. Everyone wants to see the film right now.

On the other hand, cinephiles are used to waiting a few years to see foreign/indie films. The difference in the distribution model clearly makes the wait seem painful. But foreign/indie films have to follow the festival circuit first to gather some attention before the theatres will come calling. Slumdog Millionaire is such an example. If the film had not won the audience award at The Toronto International Film Festival, then I don't think it would have gotten the momentum that it did. That award and word of mouth suddenly made it a must see film, just like a regular Hollywood film.

I know about the popular vs cinephile difference quite well because more than a decade ago I belonged to the popular cinema crowd. I used to line up every friday evening to see the newest Hollywood or Bollywood film. But I eventually crossed over to the cinephile line. I still visit the popular lines every now and then, but not as regularly as I used to. I would really like the "want now" model to be applied to some foreign films but as it turns out, there aren't enough cinephiles standing in my city's lines to warrant the local theaters to book those foreign films. Thankfully, the three art house theaters in the city have not given up and are still doing their best to carry on. The Uptown is showing the fully restored Metropolis tonight and The Plaza has a new Spanish Cinema Film Festival running from tonight until Monday. Also, Fair Game finally opens in the city, naturally in Eau Claire along with at Chinook. So there are some diverse cinematic options this weekend as opposed to only Harry.. but don’t tell that to Hollywood otherwise they might eliminate the limited non-studio options left to people.

Monday, November 15, 2010

2011 Copa America Film & Book Festival

An updated summary of the books and films selected for the 2011 Copa America Spotlight in lieu of the recently made draw for the South American soccer tournament:

Group A: Argentina, Colombia, Costa Rica, Bolivia
Group B: Brazil, Paraguay, Ecuador, Venezuela
Group C: Uruguay, Chile, Mexico, Peru

** Note: Costa Rica have officially replaced Japan at the Copa. However, I will still have a book and film representing Japan.

Books

Argentina: Hopscotch by Julio Cortázar
Brazil: Zero by Ignácio de Loyola Brandão
Bolivia: Aurora by Giancarla de Quiroga
Chile: The Secret Holy War of Santiago De Chile by Marco Antonio de la Parra
Colombia: The Armies by Evelio Rosero
Costa Rica: Cocori by Joaquin Guteierrez
Ecuador: The Ecuador Reader, edited by Carlos De La Torre, ***
Japan: Kafka on the Shore by Haruki Murakami
Mexico: The Underdogs by Mariano Azuela
Paraguay: I, The Supreme by Augusto Roa Bastos
Peru: Conversations in the Cathedral by Mario Vargas Llosa
Uruguay: Body Snatcher by Juan Carlos Onetti, ***
Venezuela: Chronicles of a Nomad by A.A. Alvarez

*** Note (May 9, 2011): these two were new replacement entries after English translated copies of the following two original choices were not readily available.
Ecuador: Huasipungo by Jorge Icaza
Uruguay: The Shipyard by Juan Carlos Onetti

Films

Argentina: Crane World (1999, Pablo Trapero)
Bolivia: Cocalero (2007, Alejandro Landes)
Brazil: Black God White Devil (1964, Glauber Rocha)
Chile: Tony Manero (2008, Pablo Larraín)
Colombia: Crab Trap (2009, Oscar Ruiz Navia)
Costa Rica: Cold Water of the Sea (2010, Paz Fabrega)
Ecuador: Cronicas (2004, Sebastián Cordero)
Japan: Tokyo Sonata (2008, Kiyoshi Kurosawa)
Mexico: Duck Season (2004, Fernando Eimbcke)
Paraguay: Noche Adentro (2009, Pablo Lamar, 17 min)
Peru: Milk of Sorrow (2009, Claudia Llosa)
Uruguay: A Useful Life (2010, Federico Veiroj)
Venezuela: El Don (2006, José Ramón Novoa)



[Update May 9, 2011]

Substitute / Bonus Films

I will be watching an additional number of South American films to compliment some of the above titles. This will mean at most one title from each country.

Argentina: Lion's Den (2008, Pablo Trapero)
Colombia: The Wind Journeys (2009, Ciro Guerra)
Ecuador: Ratas, ratones, rateros (1999, Sebastián Cordero)
Paraguay: I Hear Your Scream (2008, Pablo Lamar, 11 min)
Peru: Madeinusa (2006, Claudia Llosa)
Venezuela: Araya (1959, Margot Benacerraf)

Two films for Ecuador have been added courtesy of Michael C. and Pacze Moj.


The three countries missing films are Ecuador, Paraguay and Japan. There are no shortage of Japanese titles but it is the Paraguayan entry that will most likely be the last title to be picked. The one readily available Paraguayan film is Paraguayan Hammock but I already used that for the 2010 World Cup Movie Festival so I want to pick a new Paraguayan film but currently nothing appears to be on the horizon. If I am still stuck for a title come June 2011, then I will go with Paraguayan Hammock.

All entries should be judged prior to the soccer tournament's kick-off on July 1, 2011. So that means all books have to be read and all films have to be seen by June 30, 2011.