Films seen in 2005 - Part II (with comments)
Submitted by WB on Mon, 11/14/2005 - 13:05
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- Trilogia I: To Livadi pou dakryzei "Trilogy: The Weeping Meadow" (2004 / Greece, Germany, France, Italy / Theo Angelopoulos) ***1/2 / **** 11.08.05
- Have seen it two days ago on the Artificial eye-DVD.
- What I liked most was the colors of the film, everything seemed to be shot in contrasting black and white, but with colors, in between a palette of greyish and most notably brownish tones. It was beautiful to look at, like the sky is looking before the storm begins. The set design was also very convincing and seemed to transport the viewer in the depicted time. The story is about Eleni, an adopted greek girl, and all the social political and personal turmoil that surrounds her. It begins with fugitives deprived of their homes and ends in total dispair. The camerawork wasn't as great as in "Ulysse's Gaze" or "The Beekeeper", creating few memorable transcendental shots, which also seemed lacking compared to Theo's other films.
- For me it was his most easily accessible and straightforward film, with an easy to follow plotline. Played like an ancient greek tragedy, like Angelopoulos himself said in an interview "according to the principles of Arestoteles" as opposed to Brecht in his earlier films. But this also becomes a kind of problem, as the film clearly has way too much dialogue, at times simply repeating verbally what has already been shown, and thus diminishing the impact of certain scenes. I think that Angelopoulos made the film on purpose more "mainstream" as to get access to a larger public with this trilogy that will tell the story of the 20th century when finished. But to me that is one of its weaknesses. Adding unnecessary explanations or simplifications weakens its artistic integrity as a whole. Also the voice-over is used to a disadvantage imo as it doesn't add anything at all in itself, comparing unfavorably with the essential and integral voice-over of for example Kubrick's "Barry Lyndon". This comparison seems appropriate to me, as I think Kubrick's film was "technically" a heavy influence, maybe even some sort of blueprint for "The weeping Meadow". Most naticably the camera is constantly moving, panning most of the time in and out of a frame, the same technique used in "Barry Landon", though it doesn't achieve its impact, because it doesn't have the contrast of the distance of Kubrick's Brechtian mise-en-scene (and the restrained acting) on one hand and the gentleness and tenderness of the camera-movements that bring us close to the characters on the other hand, while the camera nevertheless keeps us distant enough to reflect upon the film. In "The Weeping Meadow" the similar camerawork becomes more the distancing and reflective part which impact nevertheless is too little when placed alongside the very emotional acting. Thus the film becomes a more "emotional" experience, meaning that it tries to lure you at times instead of trusting the viewer to develop his own emotions (e.g. Very contrasting to Robert Bresson). The Music by Eleni Karaindrou is the film, meaning that the main theme creates the same atmosphere and feeling in music that the film does in scenes without it. Thus its an integral part when Angelopuols shows musicians playing, as their music powerfully comments on the ongoing events and their impact on the protagonists' lives.
- Overall, though too "mainstream" imo (compared to Angelopoulos own standards) One of my favorite films of the year and one of the best films of 2004.
- Salesman (1968 / USA / David Maysles, Albert Maysles, Charlotte Zwerin) ***1/2 / **** 11.01.05
- Saw Salesman by the Maysles Brothers recently, and this sure is an american classic. I can't believe the people let themselves be filmed the way they behaved, but this is a sure reminder that society was ready for soapy "talk-shows" and "reality-shows" much earlier than the 90s.
- We follow four salesman on their work selling bibles door to door, while the film builds up to a human tragedy. Life wasted, hopes crushed. This is one of the most revealing films about the late 60s in america I ever saw, and an indication of almost everything that went wrong with it. Why was there a student revolt, why did the youngsters rebel? The answer can be easily found in this film. The people have no money, no hopes, live like zombies more than anything else, and aren't able to express themselves, as constant role playing is going on. Their self-esteem is so low that they consume almost anything to try to build it up. This was a really lost generation. And the salesmen are all in the same boat. No difference between them and their clients, other than that they have a different role to play in society.
- If you wondered wher David Mamet got his inspiration for his Pulitzer-prize winning play "Glengarry Glen Ross" in 1984 you won't have to lokk no further. The great 1992 film version could be regarded as a kind of remake, with Jack Lemmon taking the part of "Salesman"'s protagonist. They not only look very similar, but Lemmon in what may be his best performance in his career almost mimicked Paul Brennans traits and gestures.
- The film is a must see.
- Ebolusyon ng isang pamilyang pilipino "Evolution of a Filipino Family" (2004 / Philippines / Lav Diaz) **1/2 / **** 10.29.05
- Have seen "Evolution of a Filipino family" in an 11h screening last week here in Berlin. The Director was present to discuss the film at the end of the screening.
- First let me say that I feel the importance of this film, not just for World cinema in general (its length, its 11year production-span, its uncompromising vision in a "postmodernist" film culture, etc.,etc.) but more importantly for the Filipino people, as the director himself has stressed on numerous occasions. The Film deals with the time span from ca. 1971 to 1987, and offers a caleidoscopic look onto individual life`s that are nevertheless represantative for society as a whole. In between we have some documentary footage, which is wholly integrated in the films flow and structure, an integral part along with fictional interviews (with Lino Brocka, among others), and the films narrative. The film was shot in grainy black and white, first on 16mm, later on Digital camera, and projected on Beta Video, so the approach in blurring the lines between fictional and non-fictional seems even more succesfull. As to why it was shot in this way, the director stated that the main cause was a lack of any financial backup, so that he had to shoot the film on weekends and when he had saved enough money himself to afford it. The script was reportedly written before or during the shoot, and there was much room for improvisation on set. Also three actors died during the period of shooting, which didn`t make things any easier. The film is in the end an uncompromising vision of Lav Diaz ofg philipino society and the possibilities in film that seems heavily indebted to Bresson.
- The problem I have with this, is my doubt wether such a film, which is unable to reach a (broad) audience in its home country, mainly due to heavy censorship restrictions that are still in use in the Philippines, but also my concern that the philipino people don`t want to be confronted with their past, and of course even less so in the course of an 11h film that demands constant interaction on the viewer`s part.
- The structure of the film is reminiscent of Tarantino, when the film often jumps in time, but mostly it`s Bresson`s late stylistic approach, when Diaz presents the effect before the cause, avoids any "psychologiysation" of the characters, mostly avoids acting (instead Bresson`s models come to mind), and the film is composed of many wide-shots and few close-ups, a distance betwwen subject and object, etc. etc.. There also Tarkovski`s sense of the mystical, mostly within dream sequences, and Antonioni`s preoccupations with landscapes. But the film doesn`t succeed in a consistent amalgamation of these elements, as one can literally observe Diaz` own evolution as a filmmaker during the eleven hours screening time. Unfortunately because of the films non-chronological and non-linear nature it becomes often very uneven to watch.
- For me, the first three hours were a joy to watch and would have made a "whole" film on their own, but from there on the film often seemed unsuccessfully repetitive and at times even uninformative. As is the case with many directors debuts, it tries to do too much and never feels as an entity. Numerous topics are touched on, but aren`t traced for a sufficient amount of time. Also the films tendency to mix absolutely everything with everything, resulting in an obvious genre-blending that to me didn`t seem desired by the director, as well as the films-self-reflectivity and it`s acts of irony and even parody, which sank the film in the end. Like a boat made for 5 people but filled with 50.
- Of course most of these things were designed by the director, but there`s a difference between an idea and its execution, and so many efforts seem well meant, while the results tend to disappoint or were seen by me as a failure. A sad thing to be said about such an enormous undertaking, but the phenomenal concept does "only" lead to an above average, solid result. It`s historical and social importance left aside, the film as FILM is sometimes take it or leave it. The viewer is thus left to fill in the gap between what Diaz wanted to be seen and felt on screen and what actually is, but because of Diaz clear vision this was mostly a task easily accomplished. Maybe it sounds preposterous after all I`ve said, but the film could have been much more than it is.
- This said, with such an unprecedented undertaking (as to my knowledge) this critique is a minor one. In the end it was a very rewarding night, with lots of tired but satisfied faces in the morning, and a short but sypathetic talk with the director. I hope his enormous skills as a filmmaker and his visionary approach towards cinema and film will lead to even greater works in the Future, but for now this film is, be it as it is on its artisical level, a must-see for any cineaste or person interested in Philippine social history.
- Evolution is the first part of a trilogy, the second being "Batang West Side" completed in 2002 before Evolution, and the third being currently in production according to Diaz. Batang West Side will be shown next week, and I will try to attend it`s screening, so more on this later.
- And please excuse my bumpy review, as I was planning only to type down some informative thoughts, but ended up writing too much and far too little for getting a precise idea of the film and it`s wide reaching surroundings, but hopefully it will generate more interest. The film has been until know shown at about 15 international film festivals and more are to come (currently it`s Flanders I think), but the screenings have a dicrepancy in their lack of attendance compared to the importance of its subject. I urge you to read some articles on the film and on Diaz, and hopefully there will be a much greater discussion when the third part is released. It is desperately needed!
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rating system:
In general, a film that gets more than ** / **** is one I liked, a film that gets less, one I disliked.
***** / **** (one simply can't make a better film)
**** / **** (the film is in itself a perfect entity)
***1/2 / **** ((almost) a masterpiece)
*** / **** (very good)
Must sees, are films with ***1/2 / **** or higher rating. My favorite films are in bold.
The rating reflects how good or bad I thought a film to be. It doesn't always show, which one I liked or enjoyed more.