felicityking (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
felicityking) wrote2012-04-26 10:07 pm
felicityking) wrote2012-04-26 10:07 pm
Scrapbook 2012: Movies and Miscelleanous, 7 (66-83)
Newest to oldest per usual:
The Importance of Being Ernest. Oh, what a joy this was! From the costumes to the score to the scenery, this slightly surrealist movie based on the Oscar Wilde play was such fun! It's about the courtship and manners in upper-crust society. Colin Firth and Rupert Everett steal scenes from each other and are quite the zippy pair. I would definitely watch and rewatch this again!
French Cancan. Like an MGM musical extravaganza, except more ribald and grittier. Damn! When did Hollywood get so conservative? This features illicit sex, an attempted suicide and nudity and it was made in 1954! Jean Renoir's musical is about the origins of the Moulin Rouge. It's a great fluffy film even if it's about nothing groundbreaking (typical rags to riches "a star is born" material). The cinematography and costumes are so amazing. One can definitely see nods to dad Auguste throughout the film.
Sommarnattens leende (Smiles on a Summer Night). If Rules of the Game had been more frothy, rather than dramatic, this is what it might have been. Although it's a dark comedy, it still manages to feel like Renoir painting come to life. Its plot is slight: several couples sort out their messy love entanglements as they relax over a a carefree few days. Being an Ingmar Bergman film, it also has lovely scenery, great dialogue, and amazing actors. This is my 4th Bergman film this year and he's definitely becoming one of my favorite directors. Oh, and, if you happen to see this film and like it, check out the CD A Little Night Music, the Stephen Sondheim musical based on this film.
Pygmalion. I've always mixed feelings about My Fair Lady, but watching this--especially in the aftermath of Gossip Girl where Chuck's bullying and abuse of Blair is considered epic love--I can finally say, I hate this story. Eliza is nothing more than an object. We are supposed to laugh that her father would sell her for 5 pounds to Henry Higgins, that Higgins mistreats and shapes her with no regard for her feelings or past life, that Higgins "treats a Duchess like she is a flower girl." It's not romantic. It's a lesson in misogyny that is cleverly hiddenly behind fashion, wit, and a treatise on language that you will improve yourself if you improve how you speak. I think this story is ultimately a tragedy. I don't celebrate the ending. And I'm horrified so many people hold it up as a romance. The only thing I can say I truly enjoyed about this was that Higgins/Pickering are basically Holmes/Watson. Except, instead of solving mysteries, they are dissecting language. But, you can't convince me Bernard Shaw didn't rip off Conan Doyle for his prickly bachelor and easy-going companion.
Eden Lake. I will always associate this film with the "Gossip Girl" season 5 finale. Why? Both are plot-driven dramas about heartless, bullying people with little to no humanity. Jenny and Steve go on a holiday where a gang of adolescents harass them. Rather than call the police, or leave the area, Steve fights back...which results in lots of torture porn. It all leads up to a manipulated ending. I don't stomach horror very well, but I watched this because Michael Fassbender and Kelly Reilly are in it. According to reviews, this ranks as one of the most disturbing modern day horror films ever made. If so, I'm shocked I was able to get through it. (I flinched a lot but it was more disgusting for its "no compassion, everyone's a monster waiting to attack" message rather than the actual blood-and-gore.)
Summertime. An underrated Kate Hepburn film that I haven't seen in years. "Nothing ever happens to me" laments plain old maid Jane Hudson to a stranger in Venice. She's enchanted by Venice and determined to see it beyond its tourist lenses, but she still feels lonely and alone, despite her attempts to be included. Despite her awkward, unglamourous self, a Venice man does indeed fall her--and her trip turns into a life-changing experience. What I love this film--and KH films in general--is that Jane isn't presented as a tragic character before she finds love. She's still accomplished and doing something, even though she feels alone. I can only imagine how this film would remade today in our Twilight era where a woman isn't complete without a man. I especially like the ending, because we know Jane will go on. She's not defined by her love or time in Venice, even though it has opened up her, changed her. Biggest reason to watch this: the scenery porn which is simply breathtaking.
Harry Potter and the Prisoner of Azkaban. I have always loved this move but since rereading the book, I realize it's not the best adaptation. The movie could have used an additional 15 minutes in the first portion to smooth out the plot. Everything is rushed to the ending (and a full hour, one complete hour, is devoted to the ending...). Alfonso got all the praise for maturing the series, but all I noticed was his "look at all the pretty toys I get to play with!" attitude effects rather than focus on storytelling. It's still strong movie, but elements from the book that shouldn't have been left out were (Snape being bullied, Snape giving potion to Lupin, the beginning with Sirius Black and why the Aunt hates Harry....) David Thewlis is flawless casting though.
Pépé le Moko (1937) My 2nd Julien Duvivier film. This French classic is a gangster movie set in Algiers about a swaggering, on the run criminal who falls for a European woman, even though he has a loyal lover already. Although very different in tone, I couldn't help but think of Casablanca. Except, this love triangle is rotten. There's no nobility behind it. As with Anna Karenina, the film is beautiful. Shot on location, the sets and costumes are amazing. Not breathtakingly glorious, but amazing in a local colour sense of time and place. For a gangster movie, the violence is thankfully minimal too. It's there and it's brutal but it's not let-me-shock-you-in-your-face gagworthy.
Orphée (Orpheus). FILM 75!!!! My second Cocteau film. I saw his Beauty and the Beast while I was in college at a Sunday film matinee. I had the same impression I did then: he's very good but greatness lies just beyond his grasp. I couldn't help but think of Baz Luhrmann's Romeo and Juliet when I was watching this: it's a retelling of the legend set in modern times. I haven't read the original play, so I'm not certain how much was changed for the film, but it didn't feel like much based on my other readings of Grec-Roman plays. The last 15 minutes are what really made me like this film, because it focused on the underworld angle, rather than the humans trying to make sense of it.
Muriel's Wedding. Thank god Hollywood hasn't discovered this Aussie cult comedy: it would be totally sugarcoated and airbrushed. Toni Collette plays Muriel, a single, self-esteemed challenged woman. After catching a bouquet at a wedding she decides to make a change to her life. It actually reminded me of My Big Fat Greek Wedding, except there was a huge sad undercurrent throughout. While Muriel's journey is mostly postive, there are reminders that not everything comes up roses even when you have everything as shown by Muriel's mother story (which is heartbreaking). The fashion is atrocious, but the movie is amazing. Go find it and watch it!
Kate & Leopold. Cute, adorable, and surprisingly dry for a romantic comedy. A 19th century gent who wants to be something more than just a wealthy guy is accidentally sent to the 21th century where he meets a cynical career woman. The time travel aspect gave this something unusual, and I liked how they explained it at the ending. Also, I like that they played it straight: it made it work. Liev Schriver stole the show though, as Kate's ex-boyfriend who is a scientific nerd who discovered the time portal.
The Great Mouse Detective. Although I love Disney films, I haven't seen them all. Since Sherlock season 2 is coming back tomorrow, what better way to get ready than to watch this? That's right. Basil of Baker Street is the great crime-solver of the Victorian era, and this time he--and Dr. Dawson--has to figure out why his arch-enemy, the dreaded Professor Ratigan, kidnapped a toy-maker. I liked that Disney didn't try to sweeten Basil up. While he's not quite the prick Benedict's or Robert's Sherlocks are, he's still a fussy little fellow, um, mouse.
Things to Come. Well, fuck! Why don't they make movies like this anymore? This isn't just rehashed CGI. It's speculative, imaginative, what could be next fantasy. Based on a story by H.G. Wells, the movie can be said to be roughly split into 3 parts examining how "progress" is understood by humankind in times of war, anarchy, and peace. It's a bit heavy on the dialogue-side, but the effects--even for 1936--was amazing! The sets are particularly imaginative. I loved this! If you can find it, watch it!
A Bucket of Blood. Although I've seen the remake of Little Shop of Horrors, I've never seen an actual Roger Corman film. I can now understand the fuss about him! Two things I immediately took away from this: beatniks were the original hipsters, and never trust the new popular person or thing cuz it might be a fraud (and people are liking to praise things that aren't even there) . I liked this film. It's a black comedy about a hack who wants to be a sculpturer and, through accidentally murdering a cat, discovers a way he can make art. This is a film that could easily be made today.
Equinox. A low-budget B-movie Criterion rescued from oblivious. As I'm sure it is obvious, I like to IMDB or wiki the movies before I watch them. I feel this makes me be more fair-minded towards them if I know their background, and this one has quite a bit: 2 important special effects creators, also this was originally a student-made film that got picked up for distibution. Even though the actors are walking cardboard and the effects themselves are unexciting, the storyline is what keeps this film watchable (as well as knowing its history). Despite being made outside of Hollywood, it does fit within the classic teen horror genre: 4 teens go into the woods to meet a teacher for an assignment. Instead of meeting the teacher (who has mysteriously disappeared), they encounter strange and terrifying horrors instead. It's one of those movies where you go "well, okay" and just enjoy the cheese for what it is. While I can't say I'll ever become a lover of B-movies, thanks to Criterion, I am beginning to understand their importance to film and cinemas in general. (And, in over-reliance on CGI era, B-movies cheap, handmade effects actually actually seem refreshing.)
Casanova, Part 2. I don't care if it was historically accurate or not. This is well-acted, well-made miniseries! This second half is darker and more shocking that the first half. However, it is not tawdry. Both the past and present parts are compelling and the directing is top-notch. (Rose Byrne even manages to make a thankless dressing role mean something.) Definitely one of the best miniseries BBC has produced (and they really need to go back to making 3 hour + extraganzas.)
Casanova, Part 1. The miniseries, not the movie. Wow. I wasn't expecting to be pulled into this, but it just snuck up behind me with its charm, wit, and humour and never let go. Peter O'Toole plays an older Casanova recording/reflecting back on his life. David Tennant, an unconventional but perfect choice, plays the sexy, scandalous younger man. Russell T. Davies, of Dr. Who fame, wrote the miniseries so it has a much less serious air to it than the typical BBC movie or miniseries. Can we discuss the flawless score though? It's very carnivalesque: mischievous but with a haunting, melancholic undertone. Which is perfect, because it echoes the echoes themselves as their characters pretend to flit lightly through life, but beset with disappointment and the gender politics of the day. (Note: the series is 3 singles episodes, but hulu has split into 2 parts)
Fanny och Alexander (Fanny & Alexander) A made-for-TV miniseries that got converted to into a 3 hour film (and later converted back to a 5 hour + mini) that is sumptuous, beautiful, and amazing. Ingmar Bergman's swan song chronicles the Ekdahls, a rich, theatrical family and their lives during 1907-1909, but the main focus is on Emilie and her children (who the film are named after). If the film is sprawling, it's also engaging to watch. We see everything from Alexander's POV--and it is an imaginative, harrowing, and descriptive POV. Definitely a great film. I plan to see the miniseries when I can.
I Vitelloni. My first Fellini film! And I wasn't disappointed. This reminded me of The Men of Brewster Place (a fantastic novel by Gloria Naylor) where I hated all the characters for their thoughtless, cruel ways but because their motivations were so well explained out, I couldn't help but sympathize with them, even though I couldn't forgive them for acting the way they did. This came out the same year as Roman Holiday, but it's a very different Italy from Hepburn and Peck's film. Italy is still enchanting, but it's desolate, isolating, and cynical place. It actually felt quite modern: the men are slackers but that is because employment is hard to find, they are over-indulged and spoiled, and they are trapped in a small town. It's almost like an Italian version of A Place in the Sun, except rather than end in an epic death, it just shows the tragedy goes on and on despite our attempts to forget it and act lighthearted or uncaring about life.
Aus dem Leben der Marionetten (From the Life of the Marionettes). Ugh. I would never have expected this sleazy, tawdry, cheap film from the likes of Ingmar Bergman but there you go. It's a semi-sequel to his Scenes from A Marriage, focusing on 1 married couple. The husband kills a prostitute, and the film goes back and forth in time establishing his motives and history. It's a Bergman film, so it was more poetic and beautiful then the typical shock thriller, but it was still unappetizing.
The Importance of Being Ernest. Oh, what a joy this was! From the costumes to the score to the scenery, this slightly surrealist movie based on the Oscar Wilde play was such fun! It's about the courtship and manners in upper-crust society. Colin Firth and Rupert Everett steal scenes from each other and are quite the zippy pair. I would definitely watch and rewatch this again!
French Cancan. Like an MGM musical extravaganza, except more ribald and grittier. Damn! When did Hollywood get so conservative? This features illicit sex, an attempted suicide and nudity and it was made in 1954! Jean Renoir's musical is about the origins of the Moulin Rouge. It's a great fluffy film even if it's about nothing groundbreaking (typical rags to riches "a star is born" material). The cinematography and costumes are so amazing. One can definitely see nods to dad Auguste throughout the film.
Sommarnattens leende (Smiles on a Summer Night). If Rules of the Game had been more frothy, rather than dramatic, this is what it might have been. Although it's a dark comedy, it still manages to feel like Renoir painting come to life. Its plot is slight: several couples sort out their messy love entanglements as they relax over a a carefree few days. Being an Ingmar Bergman film, it also has lovely scenery, great dialogue, and amazing actors. This is my 4th Bergman film this year and he's definitely becoming one of my favorite directors. Oh, and, if you happen to see this film and like it, check out the CD A Little Night Music, the Stephen Sondheim musical based on this film.
Pygmalion. I've always mixed feelings about My Fair Lady, but watching this--especially in the aftermath of Gossip Girl where Chuck's bullying and abuse of Blair is considered epic love--I can finally say, I hate this story. Eliza is nothing more than an object. We are supposed to laugh that her father would sell her for 5 pounds to Henry Higgins, that Higgins mistreats and shapes her with no regard for her feelings or past life, that Higgins "treats a Duchess like she is a flower girl." It's not romantic. It's a lesson in misogyny that is cleverly hiddenly behind fashion, wit, and a treatise on language that you will improve yourself if you improve how you speak. I think this story is ultimately a tragedy. I don't celebrate the ending. And I'm horrified so many people hold it up as a romance. The only thing I can say I truly enjoyed about this was that Higgins/Pickering are basically Holmes/Watson. Except, instead of solving mysteries, they are dissecting language. But, you can't convince me Bernard Shaw didn't rip off Conan Doyle for his prickly bachelor and easy-going companion.
Eden Lake. I will always associate this film with the "Gossip Girl" season 5 finale. Why? Both are plot-driven dramas about heartless, bullying people with little to no humanity. Jenny and Steve go on a holiday where a gang of adolescents harass them. Rather than call the police, or leave the area, Steve fights back...which results in lots of torture porn. It all leads up to a manipulated ending. I don't stomach horror very well, but I watched this because Michael Fassbender and Kelly Reilly are in it. According to reviews, this ranks as one of the most disturbing modern day horror films ever made. If so, I'm shocked I was able to get through it. (I flinched a lot but it was more disgusting for its "no compassion, everyone's a monster waiting to attack" message rather than the actual blood-and-gore.)
Summertime. An underrated Kate Hepburn film that I haven't seen in years. "Nothing ever happens to me" laments plain old maid Jane Hudson to a stranger in Venice. She's enchanted by Venice and determined to see it beyond its tourist lenses, but she still feels lonely and alone, despite her attempts to be included. Despite her awkward, unglamourous self, a Venice man does indeed fall her--and her trip turns into a life-changing experience. What I love this film--and KH films in general--is that Jane isn't presented as a tragic character before she finds love. She's still accomplished and doing something, even though she feels alone. I can only imagine how this film would remade today in our Twilight era where a woman isn't complete without a man. I especially like the ending, because we know Jane will go on. She's not defined by her love or time in Venice, even though it has opened up her, changed her. Biggest reason to watch this: the scenery porn which is simply breathtaking.
Harry Potter and the Prisoner of Azkaban. I have always loved this move but since rereading the book, I realize it's not the best adaptation. The movie could have used an additional 15 minutes in the first portion to smooth out the plot. Everything is rushed to the ending (and a full hour, one complete hour, is devoted to the ending...). Alfonso got all the praise for maturing the series, but all I noticed was his "look at all the pretty toys I get to play with!" attitude effects rather than focus on storytelling. It's still strong movie, but elements from the book that shouldn't have been left out were (Snape being bullied, Snape giving potion to Lupin, the beginning with Sirius Black and why the Aunt hates Harry....) David Thewlis is flawless casting though.
Pépé le Moko (1937) My 2nd Julien Duvivier film. This French classic is a gangster movie set in Algiers about a swaggering, on the run criminal who falls for a European woman, even though he has a loyal lover already. Although very different in tone, I couldn't help but think of Casablanca. Except, this love triangle is rotten. There's no nobility behind it. As with Anna Karenina, the film is beautiful. Shot on location, the sets and costumes are amazing. Not breathtakingly glorious, but amazing in a local colour sense of time and place. For a gangster movie, the violence is thankfully minimal too. It's there and it's brutal but it's not let-me-shock-you-in-your-face gagworthy.
Orphée (Orpheus). FILM 75!!!! My second Cocteau film. I saw his Beauty and the Beast while I was in college at a Sunday film matinee. I had the same impression I did then: he's very good but greatness lies just beyond his grasp. I couldn't help but think of Baz Luhrmann's Romeo and Juliet when I was watching this: it's a retelling of the legend set in modern times. I haven't read the original play, so I'm not certain how much was changed for the film, but it didn't feel like much based on my other readings of Grec-Roman plays. The last 15 minutes are what really made me like this film, because it focused on the underworld angle, rather than the humans trying to make sense of it.
Muriel's Wedding. Thank god Hollywood hasn't discovered this Aussie cult comedy: it would be totally sugarcoated and airbrushed. Toni Collette plays Muriel, a single, self-esteemed challenged woman. After catching a bouquet at a wedding she decides to make a change to her life. It actually reminded me of My Big Fat Greek Wedding, except there was a huge sad undercurrent throughout. While Muriel's journey is mostly postive, there are reminders that not everything comes up roses even when you have everything as shown by Muriel's mother story (which is heartbreaking). The fashion is atrocious, but the movie is amazing. Go find it and watch it!
Kate & Leopold. Cute, adorable, and surprisingly dry for a romantic comedy. A 19th century gent who wants to be something more than just a wealthy guy is accidentally sent to the 21th century where he meets a cynical career woman. The time travel aspect gave this something unusual, and I liked how they explained it at the ending. Also, I like that they played it straight: it made it work. Liev Schriver stole the show though, as Kate's ex-boyfriend who is a scientific nerd who discovered the time portal.
The Great Mouse Detective. Although I love Disney films, I haven't seen them all. Since Sherlock season 2 is coming back tomorrow, what better way to get ready than to watch this? That's right. Basil of Baker Street is the great crime-solver of the Victorian era, and this time he--and Dr. Dawson--has to figure out why his arch-enemy, the dreaded Professor Ratigan, kidnapped a toy-maker. I liked that Disney didn't try to sweeten Basil up. While he's not quite the prick Benedict's or Robert's Sherlocks are, he's still a fussy little fellow, um, mouse.
Things to Come. Well, fuck! Why don't they make movies like this anymore? This isn't just rehashed CGI. It's speculative, imaginative, what could be next fantasy. Based on a story by H.G. Wells, the movie can be said to be roughly split into 3 parts examining how "progress" is understood by humankind in times of war, anarchy, and peace. It's a bit heavy on the dialogue-side, but the effects--even for 1936--was amazing! The sets are particularly imaginative. I loved this! If you can find it, watch it!
A Bucket of Blood. Although I've seen the remake of Little Shop of Horrors, I've never seen an actual Roger Corman film. I can now understand the fuss about him! Two things I immediately took away from this: beatniks were the original hipsters, and never trust the new popular person or thing cuz it might be a fraud (and people are liking to praise things that aren't even there) . I liked this film. It's a black comedy about a hack who wants to be a sculpturer and, through accidentally murdering a cat, discovers a way he can make art. This is a film that could easily be made today.
Equinox. A low-budget B-movie Criterion rescued from oblivious. As I'm sure it is obvious, I like to IMDB or wiki the movies before I watch them. I feel this makes me be more fair-minded towards them if I know their background, and this one has quite a bit: 2 important special effects creators, also this was originally a student-made film that got picked up for distibution. Even though the actors are walking cardboard and the effects themselves are unexciting, the storyline is what keeps this film watchable (as well as knowing its history). Despite being made outside of Hollywood, it does fit within the classic teen horror genre: 4 teens go into the woods to meet a teacher for an assignment. Instead of meeting the teacher (who has mysteriously disappeared), they encounter strange and terrifying horrors instead. It's one of those movies where you go "well, okay" and just enjoy the cheese for what it is. While I can't say I'll ever become a lover of B-movies, thanks to Criterion, I am beginning to understand their importance to film and cinemas in general. (And, in over-reliance on CGI era, B-movies cheap, handmade effects actually actually seem refreshing.)
Casanova, Part 2. I don't care if it was historically accurate or not. This is well-acted, well-made miniseries! This second half is darker and more shocking that the first half. However, it is not tawdry. Both the past and present parts are compelling and the directing is top-notch. (Rose Byrne even manages to make a thankless dressing role mean something.) Definitely one of the best miniseries BBC has produced (and they really need to go back to making 3 hour + extraganzas.)
Casanova, Part 1. The miniseries, not the movie. Wow. I wasn't expecting to be pulled into this, but it just snuck up behind me with its charm, wit, and humour and never let go. Peter O'Toole plays an older Casanova recording/reflecting back on his life. David Tennant, an unconventional but perfect choice, plays the sexy, scandalous younger man. Russell T. Davies, of Dr. Who fame, wrote the miniseries so it has a much less serious air to it than the typical BBC movie or miniseries. Can we discuss the flawless score though? It's very carnivalesque: mischievous but with a haunting, melancholic undertone. Which is perfect, because it echoes the echoes themselves as their characters pretend to flit lightly through life, but beset with disappointment and the gender politics of the day. (Note: the series is 3 singles episodes, but hulu has split into 2 parts)
Fanny och Alexander (Fanny & Alexander) A made-for-TV miniseries that got converted to into a 3 hour film (and later converted back to a 5 hour + mini) that is sumptuous, beautiful, and amazing. Ingmar Bergman's swan song chronicles the Ekdahls, a rich, theatrical family and their lives during 1907-1909, but the main focus is on Emilie and her children (who the film are named after). If the film is sprawling, it's also engaging to watch. We see everything from Alexander's POV--and it is an imaginative, harrowing, and descriptive POV. Definitely a great film. I plan to see the miniseries when I can.
I Vitelloni. My first Fellini film! And I wasn't disappointed. This reminded me of The Men of Brewster Place (a fantastic novel by Gloria Naylor) where I hated all the characters for their thoughtless, cruel ways but because their motivations were so well explained out, I couldn't help but sympathize with them, even though I couldn't forgive them for acting the way they did. This came out the same year as Roman Holiday, but it's a very different Italy from Hepburn and Peck's film. Italy is still enchanting, but it's desolate, isolating, and cynical place. It actually felt quite modern: the men are slackers but that is because employment is hard to find, they are over-indulged and spoiled, and they are trapped in a small town. It's almost like an Italian version of A Place in the Sun, except rather than end in an epic death, it just shows the tragedy goes on and on despite our attempts to forget it and act lighthearted or uncaring about life.
Aus dem Leben der Marionetten (From the Life of the Marionettes). Ugh. I would never have expected this sleazy, tawdry, cheap film from the likes of Ingmar Bergman but there you go. It's a semi-sequel to his Scenes from A Marriage, focusing on 1 married couple. The husband kills a prostitute, and the film goes back and forth in time establishing his motives and history. It's a Bergman film, so it was more poetic and beautiful then the typical shock thriller, but it was still unappetizing.