Days of Wine and Roses

Genre: psychological drama
With: Jack Lemmon, Lee Remick, Charles Bickford
Director: Blake Edwards
Release: 1962
Studio: Warner Bros. Pictures, Jalem Productions – Warner Bros. Pictures Distribution
Rating: -
MBiS score: 8.2/10


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Story-line: Joe Clay, a PR man, meets (and insults) a pretty lady named Kirsten Arneson. As luck would have it, they soon fall for each other… but their love comes with a strong smell of alcohol.
Pluses: fine acting, a mature script.
Minuses: none really.
Comments: over the years, Hollywood has produced several films about alcoholism and this one is particularly vivid. A strong directorial turn for Blake Edwards, whose career not only included Pink Panther movies but also heftier entries like this one and BREAKFAST AT TIFFANY’S.


MBiS

© 2009 – All rights reserved

Storytelling

Genre: comedy drama
Director: Todd Solondz
Release: 2001
Studio: Killer Films, Good Machine – Fine Line Features
Rating: R
MBiS score: 7.6/10


There’s Nothing Wrong With Self-indulgence… Once In A While


STORYTELLING recounts not one, but two tragicomic stories. In FICTION, a literature student named Vi (Selma Blair) finds herself in a quandary after her breakup with fellow student Marcus (Leo Fitzpatrick). With Robert Wisdom as Mr. Scott. In NON-FICTION, amateur filmmaker Toby Oxman (Paul Giamatti) chooses slacker Scooby Livingston (Mark Webber) as his main subject for a documentary on today’s teenagers and the school system. With John Goodman and Julie Hagerty (Marty and Fern, Scooby’s parents), Noah Fleiss and Jonathan Osser (Brady and Mikey, his brothers) and Lupe Ontiveros (Consuelo, the family maid).

For a would-be reviewer like myself, STORYTELLING presents a veritable challenge. On the one hand, I could easily give away its punchline if my comments are too explicit. On the other, I have no way of guessing what reactions it will elicit from individual viewers because it is both unpredictable in its flow and highly personal in its impact. Nevertheless, you do deserve some form of guidance so here it is, as circuitous as it seems. You should enjoy Todd Solondz’ strange trip of a movie if you’re in the mood for a dark and cynical ride; otherwise, you may be better off not seeing it.

FICTION, the first story, is a brief but jolting watch, much like an electroshock. Life will deal one cruel blow to young Vi – in an almost unbearable chain of events – and it’s a safe bet that you will squirm in your seat while witnessing her plight. NON-FICTION develops at a slower pace but in similar fashion, with a few nasty surprises for its characters and another one just for you, the hapless onlooker. Technically speaking, I found no faults in either story – both are competently told, played and crafted – and I certainly won’t deny Todd Solondz’ brilliance as a director. Unfortunately, his film feels more like a pet project than a full-fledged cinematic effort and, for this reason, I cannot rate it as highly as HAPPINESS and WELCOME TO THE DOLLHOUSE, two Solondz gems remarkable for their power and urgency. It still deserves a decent score for its chutzpah, mind you, but movie buffs should regard it as a fallback, not as a priority.

That being said, I won’t blame you for indulging – as our friend Solondz has so adroitly done – in this bleak double bill but you should be ready to face the music. STORYTELLING is one smart movie… but it also smarts!


MBiS

© 2009 – All rights reserved

Enfants du paradis (Les)

English title: Children of Paradise
Genre: romantic drama
With: Jean-Louis Barrault, Arletty, Pierre Brasseur
Director: Marcel Carné
Release: 1945
Studio: S N Pathé-Cinéma
Rating: -
MBiS score: 9.3/10


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Story-line: across a seven-year period (from 1840 to 1847), the Paris theatre district is the backdrop for many a romance between Baptiste, Garance, Frédérick, Nathalie and Édouard while the infamous Lacenaire lurks in the shadows.
Pluses: great acting, poetic dialogues by Jacques Prévert, solid production values, strong direction.
Minuses: the film’s length (approximately three and a half hours) may scare off some viewers but those who hang on will be rewarded with a double payoff.
Comments: LES ENFANTS DU PARADIS is by no means a dull film but its complex story-line needs time to develop. Even though it was conceived more than sixty years ago (and in the midst of a World War!), it remains a masterpiece of French and international cinema. Yes, it is one of the best movies ever made.


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© 2009 – All rights reserved

Lantana

Genre: ensemble drama
Director: Ray Lawrence
Release: 2001
Studio: Beyond Films, Jan Chapman Films et al. – Lionsgate
Rating: R
MBiS score: 8.3/10


Mysteries By Night, Mysteries By Day


In Sydney, Australia, psychiatrist Valerie Somers (Barbara Hershey) launches a book entitled Eleanor in which she describes how both herself and her husband John Knox (Geoffrey Rush) have coped with their daughter’s violent death. Elsewhere in town, police detective Leon Zat (Anthony LaPaglia) cheats on his wife Sonja (Kerry Armstrong) with a separated woman named Jane O’May (Rachael Blake) who attends a Latin dance class with them.

---

Sometimes, lesser-known films are the most enjoyable and this is certainly the case with LANTANA, a fine feature that manages to be down-to-earth and otherworldly all at once. Without fanfare, Ray Lawrence has crafted a marvelous slice-of-life film that will warm your heart like GRAND CANYON in a similar vein.

What can you expect from LANTANA? A superb and unpredictable story-line, thoughtful dialogues, wonderful acting and an exquisite ending. Overall, you will be amazed by this film’s simplicity... but of course simplicity is beauty itself. As for the script’s underlying metaphor, you only need to know that a 'lantana' is an attractive plant with large flowers and a vast network of intertwined branches.

Friends on the Net and in blogland, do trust me here. LANTANA is one of life’s little treasures and I don’t want to spoil it for you. Do see it!


MBiS

© 2009 – All rights reserved

Diaboliques (Les)

Other titles: Diabolique, Fiends
Genre: suspense
With: Simone Signoret, Vera Clouzot, Paul Meurisse
Director: Henri-Georges Clouzot
Release: 1955
Studio: Janus Films et al. – Kino International et al.
Rating: -
MBiS score: 8.6/10


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Story-line: a school principal's wife and his mistress conspire to kill him.
Pluses: marvelous acting, a disturbing atmosphere, a great script based on a novel by Boileau-Narcejac.
Minuses: not a movie for the faint-hearted.
Comments: this old-time film by a French master is one of the best thrillers ever. Really frightening stuff!


MBiS

© 2009 – All rights reserved

House of Mirth (The)

Genre: romantic drama
Director: Terence Davies
Release: 2000
Studio: Three Rivers, Granada Film et al. – Sony Pictures Classics
Rating: PG
MBiS score: 8.4/10


'Isn't marriage your vocation? Isn't it what you're all brought up for?'


The setting is New York City, the time, 1905. Lily Bart (Gillian Anderson), a young lady in Gotham's high society, is actively seeking a husband. On sentiments alone, Lawrence Selden (Eric Stoltz) would be a good choice but Lily doesn't know if he cares for her; besides, Lawrence is a confirmed bachelor and has no money. What's a girl to do, especially one who is burdened with debts? With Dan Aykroyd (Gus Trenor), Laura Linney (Bertha Dorset), Terry Kinney (George Dorset, Bertha's husband), Eleanor Bron (Mrs. Peniston, Lily's aunt), Anthony LaPaglia (Sim Rosedale), Jodhi May (Grace Stepney, a cousin) and Elizabeth McGovern (Carry Fisher).

Edith Wharton, whose life straddled the nineteenth and twentieth centuries, wrote solid novels about American mores and social classes, among them ETHAN FROME, THE AGE OF INNOCENCE and THE HOUSE OF MIRTH. In the latter, her heroine Lily Bart must struggle to get herself out of a bind despite a stifling and challenging environment. As you will see, there are solutions to her problems but none is ideal and all require some sort of compromise. Assorted friends, foes and vultures will come up with suggestions of their own but, ultimately, it will be up to Lily herself to deal with the intricacies of her situation.

In Terence Davies' fine adaptation, you may find the plot a little slow at first but remember that no one can solve a jigsaw puzzle without scattering its pieces on the table and taking time to study each one. Believe me, the finished picture will be worth your effort. Dialogues are remarkably tight in THE HOUSE OF MIRTH because the characters around Lily know life from experience and can play with love as if it were a game of chess. The acting here is entirely safisfying and I was notably impressed by Gillian Anderson's bewitching presence. Need I say more? Not really. Davies' film speaks for itself.

Do see this serious social drama conceived by a great novelist and a director not often in the limelight but excellent indeed. THE HOUSE OF MIRTH is by no means a feel-good film but then, life is never easy.


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© 2009 – All rights reserved

House of Games

Genre: psychological drama/suspense
With: Lindsay Crouse, Joe Mantegna, Mike Nussbaum
Director: David Mamet
Release: 1987
Studio: Filmhaus Productions, Orion Pictures – Orion Pictures
Rating: R
MBiS score: 8.5/10


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Story-line: a psychiatrist treating a patient with gambling debts decides to confront his creditor, an obscure con man.
Pluses: great acting, a very unusual atmosphere, an effective musical score.
Minuses: none whatsoever.
Comments: kudos to David Mamet and Jonathan Katz for concocting this spellbinding story. An unforgettable study in human nature and a rare delight. Don't miss it!


MBiS

© 2009 – All rights reserved

Gandhi

Genre: political biopic
Director: Richard Attenborough
Release: 1982
Studio: Indo-British Films, International Film Investors, Goldcrest Films International – Sony Pictures Releasing
Rating: PG
MBiS score: 9.5/10


Salt From India, The Salt Of The Earth


In January 1948, as the Delhi faithful rush to prayers, a young man in a grey shirt emerges from the crowd and assassinates Mohandas K. Gandhi (Ben Kingsley), the Indian spiritual leader. At his funeral, expressions of sympathy pour in from all over the world. 'In his hands, proclaimed one Western commentator, humility and simple truth were weapons more powerful than whole empires.' In our modern era replete with tyrants, weaklings and two-faced leaders, what did Gandhi achieve to merit such praise? Plenty, brothers and sisters, plenty. With Rohini Hattangady (Kasturba, Gandhi's wife), Ian Charleson (Charlie Andrews), Roshan Seth (Pandit Nehru), Alyque Padamsee (Mohamed Ali Jinnah), Martin Sheen (Vincent Walker), Geraldine James (Miss Slade – Mirabehn), Candice Bergen (Margaret Bourke-White), Edward Fox (General Dyer), John Gielgud (Lord Irwin), Trevor Howard (Judge Broomfield), Saeed Jaffrey (Sardar Patel) and Shreeram Lagoo (Professor Gokhale). Music by George Fenton and Ravi Shankar.

While our reckless world threatens to erase Gandhi's legacy from its collective memory, this film reminds us of his invaluable contribution to peace, justice and the defence of human rights. At first an undistinguished lawyer, Gandhi gained prominence as an opponent of institutional racism in South Africa. After bringing the Smuts government to reason, he returned home to wage another battle, this time against British colonial rule, and succeeded once again. As overwhelming as those victories were, they are almost unimaginable when you consider the weapons Gandhi wielded against his people's oppressors; instead of violence, he urged humility, patience, discipline and civil disobedience. Though the target of constant and excruciating abuse, he remained his intelligent and determined self, willing to suffer with his followers in the name of truth and integrity.

Unlike many biopics, Richard Attenborough's epic film does not limit itself to events. Thanks to John Briley's outstanding script and powerful dialogues, it also examines the ideas and ideals that drove Gandhi as a militant. His syncretic view of religion, mistrust of politics and doubts when faced with the immensity of his task are ably documented here. His frankness, love of the poor and openness toward one and all are also evident in Ben Kingsley's magnificent performance. As masterful as Attenborough's movie truly is, its weight rested squarely on Kingsley's shoulders and he pulled off a miracle, clearly deserving his Oscar for Best Actor. The all-star cast around him, composed of Indian, British and American thespians, seconded him beautifully in roles of reason, stubbornness, dignity or brutality. Notice that, overall, the Brits and South Africans are patently despicable while most of the film's decency and spiritual value is contributed by Indians; on this account alone, it was fitting that a British film set matters straight for our generation and the ones to follow.

Without a doubt, GANDHI is a well-balanced and inspiring picture but also a tough watch since it depicts many revolting and appalling events; its last half-hour is disheartening but no less important to our understanding of human nature. It explains some of today's political realities in the Indian subcontinent, promotes virtues at once universal and necessary and shows us how politics should be practised in our era, not with polls and calculation but with principles, self-control, firmness and an eye to the future. Its lessons are timeless, stimulating and hugely effective.

Thus, if you are a true movie buff and you care about our world, I strongly recommend that you spend three hours on GANDHI. You will never forget the Mahatma, his radiant smile and innate generosity. Hail Attenborough's masterpiece of art and humanity but, more than anything, rejoice in Bapu's message and legacy!


MBiS

© 2009 – All rights reserved

Dance With a Stranger

Genre: psychological drama
With: Miranda Richardson, Rupert Everett, Ian Holm
Director: Mike Newell
Release: 1985
Studio: First Film Company et al. – 20th Century Fox, Samuel Goldwyn Company
Rating: R
MBiS score: 8.0/10


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Story-line: London, 1953. For Ruth Ellis, a single mother who works as a hostess in a Kensington club, love is as torturous as it is sweet.
Pluses: fine acting, an oppressive mood, satisfying production values.
Minuses: none really.
Comments: a real-life tragedy made in England and a very watchable feature that garnered a Palme d’or at the Cannes Film Festival.


MBiS

© 2009 – All rights reserved

Emploi du temps (L')

English title: Time Out
Genre: psychological drama
Director: Laurent Cantet
Release: 2001
Studio: Haut et Court, Arte France Cinéma et al. – ThinkFilm
Rating: PG-13
MBiS score: 8.4/10


Another Day, Another Dollar


When you’ve got Vincent (Aurélien Recoing) on the phone, he will strike you as a persuasive businessman, a consummate professional and, above all, a man who cannot fail. You’d never guess that he is talking to you not from a corner office but from a parking lot… and that he has been laid off weeks ago by his firm. With Karin Viard (Muriel, Vincent's wife), Serge Livrozet (Jean-Michel Chabrier) and Jean-Pierre Mangeot (Vincent's father).

The Romand legal case, which caused quite a stir in Europe, generated two concurrent movies at the beginning of this decade. One of them, L’ADVERSAIRE, is a faithful account of what happened while L’EMPLOI DU TEMPS is a work of fiction inspired by the case. If I ever find the time, I will review L’ADVERSAIRE but I can tell you straight away that, in mood and in entertainment value, it does not match Laurent Cantet’s scintillating small film.

No joshing… L’EMPLOI DU TEMPS is that good. It needs no more than ten minutes to draw you in and, from then on, you will fall under Vincent’s spell as completely as any of his contacts. As he builds on his big lie with skill and doggedness, you may even worry for him but, quite frankly, your concern won’t matter much to this sphinx-like man. Where will his machinations lead him? I’d love to tell you but you won’t enjoy the movie as much. Pick up Cantet’s low-key thriller to find out… and expect a few surprises along the way.

Production values are solid in L’EMPLOI DU TEMPS. Its crisp and cold visuals pleased me throughout, especially those extended driving scenes on the highway, and its cast also convinced me, with Aurélien Recoing as a standout. Overall, it’s tough to comment on a movie as tight, gripping and mesmerizing as this one.

Allow me one final word of caution before you reach for L’EMPLOI DU TEMPS: you may feel queasy while watching it. This haunting film about anxiety and the modern workplace depicts horror without blood, a financial predator on the prowl, a disaster in the making. Be thankful you’re not one of Vincent’s victims but, at the same time, blame Cantet for casting you as an innocent bystander.


MBiS

© 2009 – All rights reserved

Dirty Rotten Scoundrels

Genre: crime comedy
With: Michael Caine, Steve Martin, Glenne Headley
Director: Frank Oz
Release: 1988
Studio: Orion Pictures, Hyperbole Corporation – Orion Pictures
Rating: PG
MBiS score: 8.1/10


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Story-line: two scam artists, a cultured Englishman and a lowbrow American, match wits and audacity on the French Riviera.
Pluses: delicious acting, able direction, a very funny story.
Minuses: none whatsoever.
Comments: a fine and smart diversion that will warm your heart if you feel down on yourself. Do see it!


MBiS

© 2009 – All rights reserved

Prick Up Your Ears

Genre: tragicomic biography
Director: Stephen Frears
Release: 1987
Studio: Civilhand Productions et al. – Samuel Goldwyn Company
Rating: R
MBiS score: 8.4/10


To Be Gay, Free and Mischievous


Sensing trouble in a London flat, a policeman enters forcibly and finds Kenneth Halliwell (Alfred Molina) in a state of shock and a dead body lying on the floor. The cultural world has just lost one of its rising stars, playwright Joe Orton (Gary Oldman). With Vanessa Redgrave (Peggy Ramsay), Wallace Shawn (John Lahr), Julie Walters (Elsie, Joe’s mother), James Grant (William Orton, his father) and Frances Barber (Leonie, his sister).

After a nightmarish opening sequence, PRICK UP YOUR EARS changes gears and patiently weaves Joe Orton’s life with the help of Peggy Ramsay, his editor, and John Lahr, an American who undertook to write his biography. Quite frankly, I have long avoided this film – because its story did not appeal much to me and biopics, as a genre, often miss the mark – but its colourful characters, hilarious script and inspired acting simply bowled me over.

First of all, you could write a book – in fact, John Lahr did a fine job of it – about Joe’s journey from family misfit to established playwright and his association with Kenneth, his humorously morose partner and lover. These two characters form such a great and mismatched pair that everything they share becomes an event. Their reading habits, what they eat, Joe’s relative imperviousness to fame and his openly gay stance in a closeted world, Kenneth’s frequent complaints about Joe’s promiscuity, all of these elements make up a lively, spellbinding piece of entertainment delivered with formidable aplomb by Gary Oldman and Alfred Molina. For the most part, Oldman plays it straight (pun intended) but his occasional smiles reveal a fun-loving trickster underneath Orton’s serious persona. As for Molina, when his ever-repressed character cuts loose and lets his temper flare up, the results are devastatingly funny. If that weren’t enough, this tempestuous duo is supported by a great cast, especially Vanessa Redgrave playing a prime witness to the highs and lows of Orton’s career.

Technically speaking, PRICK UP YOUR EARS is no extravaganza. Its production values are low-fi but pleasing nonetheless. The movie aptly captures the exuberant mood of the late 50s and early 60s – the Beatles in their heyday, a bustling art scene, the first stages of the sexual revolution – and benefits from Stephen Frears’crafty direction. I found Stanley Myers’ score jaunty and entirely appropriate for such a quirky movie; Alan Bennett’s screenplay and Mick Audsley’s editing are also top-notch. Overall, the movie serves as a fine character study and also deals with the creative process, the relationship between reality and fiction and the role of a muse in the artistic realm; on the negative side, it lacks insight into Orton’s plays and overall oeuvre but, in today’s Internet world, anyone can learn more about them with a click here and there.

That being said, follow my advice. Don’t let this original, engrossing and very amusing romp slip away from you… reach for it at your earliest convenience. This memorable pic on a writer’s early travails, his daring break from conventions and his eventual success should be on any movie buff’s must-see list.


MBiS

© 2009 – All rights reserved

Five Easy Pieces

Genre: psychological drama
With: Jack Nicholson, Karen Black, Susan Anspach
Director: Bob Rafelson
Release: 1970
Studio: Columbia TriStar Motion Picture Group, BBS Productions – Sony Pictures Releasing
Rating: R
MBiS score: 8.1/10


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Story-line: Bobby Dupee, a musician who has left Washington State to work as an oil driller, decides to head home after learning of his father’s illness.
Pluses: fine acting, a tough and twisted story.
Minuses: none really.
Comments: an excellent drama from the legendary 70s and a signature role for Jack Nicholson. As a character, Bobby is at once fascinating and frustrating; he may even be a monster. See this movie to find out what makes him tick.


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© 2009 – All rights reserved

Up and Down

Genre: social tragicomedy
Director: Jan Hrebejk
Release: 2005
Studio: Czech Television et al. – Sony Pictures Classics
Rating: R
MBiS score: 8.2/10


Something New Under The Sun?


On their way back to the Czech Republic, two wheeler-dealers named Milan (Jan Budar) and Lubos (Marek Daniel) find an unusual package in the back of their truck. In Prague, Mila (Natasa Burger) and her boyfriend Franta (Jiri Machacek) are consumed by very dissimilar passions while a sudden illness afflicting Oto (Jan Triska) disrupts his upper-class family. Such are the overriding events in UP AND DOWN, a multi-character film depicting urban life in post-Communist Europe. With Petr Forman (Martin), Emilia Vasaryova (Vera, his mother), Ingrid Timkova (Hanka), Kristyna Liska-Bokova (Lenka), Pavel Liska (Eman), Zdenek Suchy (Goran) and Ducek Ducek (the Colonel).

In this spiderweb of a movie, Jan Hrebejk and cowriter Petr Jarchovsky use irony, dark humour and touches of cruelty to show how a handful of Praguians have adapted (or not) to their country’s political emancipation in the 90s. Judging from the issues raised – xenophobia, crime, social decay and rootlessness – you may wonder if these people are better off now than they were under Communist rule. True, some of them have come to prosper under the new order – because of their social status, through luck or by brazenly skirting the law – but their hold on happiness is no firmer than before; at any given moment, they can still fall victim to fate’s minor twists or major surprises. Less fortunate souls, like Vera and Mila, have been swept away by the whirlwind of change or by personal tragedies and have found themselves living at the margin where they simmer in precariousness. Martin, a man blessed by youth and practicality, has left the country to start anew somewhere else. It is such a group of opportunists, outcasts, quitters and do-gooders that UP AND DOWN has assembled in an ambiguous group portrait worthy of Robert Altman’s ensemble works. And, like Altman, Hrebejk and crew have spared no effort to do these people justice, on film if not in life. Do notice Ales Brezina’s atmospheric music score, a cameo by a well-known man of words and politics and, as a nostalgic nod to simpler times, those charming wind-up toys that accompany the final credits.

Overall, UP AND DOWN is a lively and smartly written film, a strong and satisfying tragicomedy that somehow spares the rod and spoils the child. The Velvet Revolution is a work-in-progress.


MBiS

© 2009 – All rights reserved

Dekalog

English title: The Decalogue
Genre: psychological drama
With: Henryk Baranowski, Krystyna Janda, Daniel Olbrychski et al.
Director: Krzysztof Kieslowski
Release: 1988-1989
Studio: Zespoly Filmowe et al. – New Yorker Films, Sundance Channel
Rating: -
MBiS score: 9.2/10


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Story-line: DEKALOG consists of ten 1-hour segments that Kieslowski crafted for Polish television. These dramas based on the Ten Commandments involve, among other characters, various tenants of a residential complex in Warsaw.
Pluses: a collection of thoughtful stories, stark portrayals, eerie visuals, great storytelling.
Minuses: some segments are slightly arid meditations (DEKALOG 4 and 8) while others present a more immediate appeal (segments 3 and 9 especially) but all of them deserve to be seen. My favourite is DEKALOG 10, an outstanding thriller about a stamp collection, believe it or not.
Comments: these weighty dramas about moral and ethical issues confirmed Kieslowski’s brilliance as a director. Required viewing for movie buffs.


MBiS

© 2009 – All rights reserved

Caché

English title: Hidden
Genre: psychological drama
Director: Michael Haneke
Release: 2005
Studio: Istituto Luce S.p.A, Les Films du Losange, Les Films Alain Sarde et al. - Sony Pictures Classics
Rating: R
MBiS score: 8.2/10


It’s A Small World After All


When Georges Laurent (Daniel Auteuil), a successful TV personality, finds on his doorstep a 2-hour videocassette depicting the front of his house and his various comings and goings, he instantly wonders what is happening to him. Is he the target of a practical joker or of some kind of maniac? Whatever it is, Georges has no intention of sitting idly by. With Juliette Binoche (Anne, his wife), Lester Makedonsky (Pierrot, their son), Annie Girardot (Georges’ mother), Maurice Bénichou, Walid Afkir and Bernard Le Coq.

CACHÉ, a movie with an odd and very catchy title, begins with a nifty visual trick that blurs the line between two levels of narration. It then lays a clever trap into which Georges Laurent will fall almost irresistibly. In a way, Georges’ predicament recalls that of Sam Bowden in CAPE FEAR but, in Michael Haneke’s film, the harassment is planned more elaborately – to the point of abstraction even – and does not appear as immediate or threatening at first glance. After a while, though, the real dangers that Georges and his family are exposed to – especially on a psychological level – will come to light and his reactions will be brought into context. Things will get messy in the Laurent household as the vise slowly closes on its members but, luckily for us, Haneke’s astute screenplay paints Georges and other characters methodically and gradually enough to help us understand the ordeal’s real implications.

In its form, Haneke’s film is evenly solid and its entire cast, especially its well-known leads Daniel Auteuil and Juliette Binoche, offers spotless performances. To heighten the story’s solemnity, no music was used in CACHÉ, which is also remarkable for its modern set design, its clean but cold visuals and a colour palette using shades of dark green, ivory and black. As for content, the script’s progression toward political allegory may seem heavy-handed to some viewers – particularly in America – while its abrupt resolution feels somewhat ill-explained and disappointing. Nevertheless, it is hard to knock down a film that provides as much food for thought and portrays its characters in such a plain and unforgiving light.

All things considered, does CACHÉ deserve to be seen or should it be decried as an all too dour condemnation? The decision is yours and yours alone but, if you pass up on it, you will have missed a slow-burning and captivating thriller about a man’s past and his unwelcoming future.


MBiS

© 2009 – All rights reserved

Party (The)

Genre: comedy
With: Peter Sellers, Claudine Longet, Steve Franken
Director: Blake Edwards
Release: 1967
Studio: Mirisch Corporation, Geoffrey Productions Inc. - United Artists Films
Rating: -
MBiS score: 8.1/10


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Story-line: pandemonium erupts when Hrundi V. Bakshi, a bumbling actor, shows up at a party where he was inadvertently invited.
Pluses: hilarious sight gags, crazy happenings and one of Peter Sellers’ most memorable performances.
Minuses: none whatsoever.
Comments: THE PARTY is a zany comedy you will cherish forever but do try to watch it with an empty bladder. Hrundi appreciates vacant bathrooms.


MBiS

© 2009 – All rights reserved

Humanité (L')

English title: Humanity
Genre: psychological drama
Director: Bruno Dumont
Release: 2000
Studio: Arte France Cinéma et al. - Winstar Cinema
Rating: -
MBiS score: 8.7/10


Bless The Beasts And The Children


In a small French town near the English Channel, police lieutenant Pharaon de Winter (Emmanuel Schotté) and his colleagues from the force are called upon to investigate the grisly rape and murder of an eleven-year-old girl. For Pharaon, this professional ordeal adds to a more personal drama, his repressed feelings of love for Domino (Séverine Caneele), who already entertains a relationship with Joseph (Philippe Tullier), one of his friends. With Ginette Allegre (Éliane, Pharaon’s mother) and Ghislain Ghesquière (the chief of police).

Once in a while, you come across a movie so distant from the mainstream that it almost defies analysis. Such is the case for L’HUMANITÉ, an abstract feature that raises several questions without limiting itself to one specific set of answers. To better appreciate this difficult film, you should focus more on the characters’ actions than their final destination because the script offers no definitive statement that ties together each and every element of the story. It is in this sense that Bruno Dumont’s film stands as a genuine challenge: long after seeing it, you will find yourself reviewing its strong images in your mind and reflecting on its themes and psychology, a reaction often elicited by true works of art.

Through Pharaon, L’HUMANITÉ illustrates man’s travails on Earth, his inner struggles, his desperate attempts to make sense of his life and that of others. Like a mirror that mercilessly reveals warts as well as beauty, it forces us to acknowledge our capacity for evil, our weakness and our brutality. Dumont achieved this by using lingering takes, symbolism and quasi-religious introspection but, if his meditative process seems a bit slow and deliberate, it is by no means boring; it simply conveys the profound malaise felt by his characters in the barren expanses of their native countryside. What affected me most was Pharaon’s introversion and acute sense of compassion. Was this man cut out to be a cop? I will let you decide on your own.

L’HUMANITÉ will not please everyone – especially not action fans – but, if enigmatic, psychology-driven movies are your cup of tea, then this art house gem will strike you as a potent, audacious and thought-provoking work about one man’s dilemma and the human condition in general. To watch this film is to experience transcendence.


MBiS

© 2009 – All rights reserved

Fanny and Alexander

Genre: family drama
With: Ewa Froling, Gunn Wallgren, Bertil Guve
Director: Ingmar Bergman
Release: 1982
Studio: Cinematograph et al. - Swedish Film Institute
Rating: R
MBiS score: 8.7/10


QuickView


Story-line: circa 1907, various events bring change to the Ekdahl household, chiefly to Oscar’s wife, Emilie, and her two children, Fanny and Alexander.
Pluses: a very atypical story, strong acting, masterful direction.
Minuses: some viewers may find the film a bit long but their patience will be handsomely rewarded.
Comments: a startling mix of humorous and harrowing episodes reflecting Bergman’s happier and darker moods. FANNY AND ALEXANDER is an original film with a distinctly European feel and an eloquent illustration of life’s vicissitudes.


MBiS

© 2009 – All rights reserved

8 femmes

English title: Eight Women
Genre: comedy drama
Director: François Ozon
Release: 2002
Studio: Fidélité Films, Celluloid Dreams et al. - Focus Features
Rating: R
MBiS score: 8.0/10


Death Takes A Holiday


Suzon (Virginie Ledoyen), a French teen studying in London, heads home to spend the Christmas break with her parents Gaby (Catherine Deneuve) and Marcel (Dominique Lamure), her sister Catherine (Ludivine Sagnier), other relatives and the household staff. On her arrival, everyone is jubilant and everything looks hunky-dory… but a shocking incident will instantly cast a pall over the family reunion and spark a frenzy of suspicion among its members.

What a riot! There is no other way to describe this hodgepodge of a film by François Ozon, screenplay collaborator Marina De Van and playwright Robert Thomas. As a first dare, director Ozon assembled the most celebrated ladies in French cinema to act out his kooky material and, for me at least, it was truly a revelation to see Catherine Deneuve, Virginie Ledoyen and Ludivine Sagnier duke it out with Danielle Darrieux (as Mamie, Gaby’s elderly mother), Isabelle Huppert (Augustine, Gaby’s sister), Fanny Ardant (Pierrette) and housekeepers Emmanuelle Béart (Louise) and Firmine Richard (Madame Chanel). Yes, you are not mistaken: Emmanuelle Béart plays a maid in this one, and a sexy one at that! As a second dare, all actresses were called upon to sing one pertinent song during the picture and, overall, they managed the feat with panache and more than passing talent. As for the movie’s story-line, it too could be considered a dare for it involves some pretty campy stuff played with genuine delectation. In this marathon of meanness, our characters will indulge in breathless finger pointing, reckless innuendo and gleeful mudslinging with results bordering on the surreal. All the while, you will be sitting on the edge of your seat, giddy and befuddled, right up to the film’s startling, high-impact ending.

So, if 8 FEMMES comes your way, don’t dismiss it as an artificial star vehicle. This outrageous whodunit provides glamorous and freewheeling fun in such quantity that your next film experience will seem flat by comparison. You better believe it… too much fun can kill you.


MBiS

© 2009 – All rights reserved

Fabulous Baker Boys (The)

Genre: psychological drama
With: Michelle Pfeiffer, Jeff Bridges, Beau Bridges
Director: Steve Kloves
Release: 1989
Studio: Gladden Entertainment, Glorious Productions, Mirage Enterprises, 20th Century Fox
Rating: R
MBiS score: 8.0/10


QuickView


Story-line: the Baker brothers, a pair of lounge pianists, meet with success after hiring singer Susie Diamond.
Pluses: a good screenplay, solid acting, a pivotal role in Michelle Pfeiffer’s career.
Minuses: none really.
Comments: this thoughtful story about music, recognition, love and the pursuit of artistic ambitions will surely entertain you. I always enjoy seeing the Bridges brothers and, of course, Michelle Pfeiffer’s striking poses on the piano are a highlight of this serious production.


MBiS

© 2009 – All rights reserved

Written On The Wind

Genre: family drama
Director: Douglas Sirk
Release: 1956
Studio: Universal Pictures
Rating: PG
MBiS score: 8.2/10


Even Oilmen Have The Blues


On a whim, oil baron Kyle Hadley (Robert Stack) hops on a plane with his friend Mitch Wayne (Rock Hudson) and travels from Texas to New York to eat a sandwich in one of his favourite restaurants. While in the Big Apple, Kyle also intends to do business with a publicity agent but his fortuitous meeting with Lucy Moore (Lauren Bacall), the agent’s assistant, will set off a whim of a different kind. With Dorothy Malone (Marylee, Kyle’s sister) and Robert Keith (Jasper Hadley, their father).

Director Douglas Sirk had a knack for gut-wrenching soap operas and WRITTEN ON THE WIND, based on a novel by Robert Wilder, shows him in particularly fine form. First and foremost, this film about love, desire and inadequacy features great characters interpreted by great actors. The dominant player in the story is undoubtedly Kyle Hadley, a brash young man driven to spectacular excess. Kyle expects everything from life and usually gets it but, unlike his disciplined father who worked for his gusto, Kyle orders it or brazenly deals for it; his penchant for booze also contributes to his avowed ‘bad boy reputation’. Mitch, a lifelong buddy and polar opposite, has always accepted his role as Kyle’s faithful sidekick but, as time passes and events dictate, their friendship will strain noticeably for reasons better left unsaid. As for Lucy, her positive influence may or may not be enough to counteract the dysfunctional nature of the Hadley household. Marylee, for her part, needs love desperately enough to look for it in all the wrong places and, as the drama unfolds, you will agree with Kyle’s description of his sister as ‘a bigger black sheep than me’. In WRITTEN ON THE WIND, it will be personal issues – and not money matters – that ignite the fireworks, so be prepared for a loud and colourful show.

Given such volatile characters, one could easily focus on them alone and overlook other aspects of the production but, in all fairness, Sirk’s work must also be commended for its excellent pacing, well-constructed dialogues and solid screenplay. Let’s not forget that Dorothy Malone deservedly won an Oscar for her scintillating performance as Marylee.

Now, have I said enough to convince you? I do hope so because this great drama from yesteryear must not be allowed to gather dust on some backroom shelf. If tales about happy people rarely make compelling films, then the Hadleys will captivate you with their experiences in love, jealousy, yearning and betrayal.


MBiS

© 2009 – All rights reserved

Close My Eyes

Genre: psychological drama
With: Saskia Reeves, Clive Owen, Alan Rickman
Director: Stephen Poliakoff
Release: 1990
Studio: Beambright, Castle Hill Productions
Rating: R
MBiS score: 8.4/10


QuickView


Story-line: in life, there are secrets that only a brother and a sister can share.
Pluses: solid acting by the whole cast (a great turn for Alan Rickman), an apocalyptic mood, astounding visuals, a haunting classical score by Michael Gibbs.
Minuses: none whatsoever, although the film’s subject matter may be too daring for some viewers.
Comments: in the realm of literature, some of the most celebrated love stories are also the most unusual or controversial. If it were a book, CLOSE MY EYES would be one of those cherished classics. Do see it if you feel adventurous.


MBiS

© 2009 – All rights reserved

Boucher (Le)

English title: The Butcher
Genre: psychological drama
Director: Claude Chabrol
Release: 1969
Studio: Films La Boétie, Euro International Film
Rating: -
MBiS score: 8.0/10


A Friend In Need Is A Friend Indeed


Days after her arrival in the small French town of Trémolat, Hélène (Stéphane Audran) is invited to a wedding banquet where she bonds with Popaul (Jean Yanne), a down-to-earth butcher. Popaul’s friendship will soon prove comforting for the new teacher in town when reports of violence in a nearby forest spread fear throughout the commune. With Antonio Passalia (Angelo), Mario Beccaria (Léon Hamel), William Guerault (Charles) and Roger Rudel (Grumbach).

Like many other French films, LE BOUCHER is a truly startling work. In content, it combines a psychological drama with elements of suspense that were not even hinted at when Hélène’s story begins. In form, its low-key treatment of violent material is almost unsettling when you compare it with the blood-and-guts approach in Hollywood fare. As you will notice, director Claude Chabrol played down the more sensational aspects of the story-line and focused on the characters’ reaction to the violence unleashed in the commune. The end result is a sober and satisfying film that favours ideas over all-out mayhem.

Given this emphasis on psychology, character interplay is paramount in LE BOUCHER. After meeting in rather humorous circumstances (ah, those witty French people!), Hélène and Popaul will be attracted to each other in a very natural and logical way but, as often happens in real life, their relationship will not be picture-perfect. When they spend time together, you will feel a certain caution or ambivalence in both of them because they still ache from past experiences. I need not elaborate on the subject since the script provides sufficient answers and both leads deliver them with ample inspiration. As is usually the case with French films, you can also expect snappy dialogues, sustained tension and an unpredictable story-line from LE BOUCHER. You may take issue – as I did – with a couple of plot twists that seem rather weak and unconvincing but, overall, the movie’s effectiveness is not jeopardized by these minor blemishes.

Accordingly, I do think that LE BOUCHER is worth your time if you appreciate taut mysteries and crave for entertainment that disregards movie business formulas. There may be better films in movieland but this one is as distinctive as any.


MBiS

© 2009 – All rights reserved

Shadowlands

Genre: romantic drama
With: Anthony Hopkins, Debra Winger, Joseph Mazzello
Director: Richard Attenborough
Release: 1993
Studio: Shadowlands Productions, Price Entertainment, Savoy Pictures
Rating: PG
MBiS score: 8.1/10


QuickView


Story-line: this tragic film recalls a life-changing encounter between Irish novelist C.S. Lewis and American writer Joy Gresham.
Pluses: wonderful acting (notably by Debra Winger), lovely period detail.
Minuses: none whatsoever, but do keep a few hankies nearby.
Comments: a very sad and touching story about the power of love. Notice how C.S. Lewis will come to question principles he has always abided by... a sign of deep, deep pain. All in all, SHADOWLANDS is a memorable film about life’s beauty and unpredictability.


MBiS

© 2009 – All rights reserved

2001, A Space Odyssey

Genre: science fiction
Director: Stanley Kubrick
Release: 1968
Studio: Metro-Goldwyn-Mayer Studios Inc., MGM Distribution Company, Warner Bros. Pictures Distribution
Rating: G
MBiS score: 9.4/10


A Bicycle Built For Two


In cinema as in any other art form, the word ‘masterpiece’ must be interpreted with caution for it can be both a blessing and a curse. There are masterpieces that everyone should see by reason of their evocative power or universal appeal and others so difficult or overloaded with symbolism that they yield little viewing pleasure. 2001, A SPACE ODYSSEY stands on middle ground as it entertains as much as it confounds. Even today, it remains a fascinating encounter with man past and future and a puzzling journey to the outer limits of humanity itself.

It is not mandatory for film buffs to read Arthur C. Clarke’s book before seeing its cinematic version but leafing through it (as I have) may help you understand what it’s all about. The movie begins with a bright celestial crescent on a dark background and the thunderous opening from Richard Strauss’ Also sprach Zarathustra. Follows the first of three segments, this one entitled The Dawn Of Humanity, which depicts a chimpanzee tribe – or a group of prehistoric men, if you will – living desperate times. The group has to rummage for food and water, is threatened by a potent predator and barely holds its ground against stronger, better nourished enemies. It is then, as extinction looms, that the chimps discover a pitch-black monolith, a smooth and perfectly shaped vertical slab that they greet with fear, suspicion and curiosity. Ultimately, the tribe leader will gingerly approach the lifeless form and touch it. From then on, the tribe’s existence brightens immeasurably. The lesson to be learned from this first segment is that the monolith appeared at a crucial moment for man and helped him triumph over adversity.

The other segments take place in the not too distant future. In the second, a prominent scientist, Dr. Heywood Floyd (William Sylvester), is sent to the moon on a secret mission and, in the third, a team of astronauts led by David Bowman and Frank Poole (played by Keir Dullea and Gary Lockwood respectively) head for Jupiter. At this point, this is really all you need to know.

Highlights are plentiful in 2001, A SPACE ODYSSEY. In the prehistoric segment, the presence of those pesky tapirs is factually correct – although defenseless, these animals are among the oldest species still living on earth. On a different level, the other segments will also amaze you with their futuristic creations and set designs that punctuate the story-line but never feel superfluous or gadgety. Do notice the cold and clinical mood Kubrick has imagined for his space stories, the political hanky-panky behind Dr. Floyd’s visit to the moon, the ballet interludes featuring various crafts sailing through space and those touches of wry humour about scientific breakthroughs and embarrassments. The script also contains space travel references from the 60s that are still scientifically sound today.

Technically speaking, Kubrick’s work is similarly astounding, with its spectacular visuals and special effects, its oblique camera angles and that eerie, otherworldly music. Many frames from this movie have become part of cinematic history and even popular culture. The descent towards Jupiter, illustrated by patches of colour thrown on screen à la Jackson Pollock, ranks as a most unusual and awe-inspiring sensory experience. In the third segment especially, tension builds slowly and deliberately, as mirrored by Bowman’s increasingly anguished face, and climaxes into a metaphysical and thought-provoking denouement that transcends usual science fiction canons.

Enough said. When you see it, you will understand why 2001, A SPACE ODYSSEY has been called one of the greatest films ever: it has withstood the test of time. In the late 60s, while man was rehearsing his first moon walk, Kubrick and crew were searching our solar system and beyond. Their dedication produced a movie of remarkable anticipation that still mesmerizes movie fans 41 years after its release. Don’t miss this film unlike any other.


MBiS

© 2009 – All rights reserved

Conversation (The)

Genre: psychological drama
With: Gene Hackman, John Cazale, Allen Garfield
Director: Francis Ford Coppola
Release: 1974
Studio: Directors Company, American Zoetrope, Paramount Pictures
Rating: PG
MBiS score: 8.3/10


QuickView


Story-line: Harry Caul, an electronic surveillance expert, struggles with his conscience when he learns of a murder plot in the course of his business.
Pluses: masterful direction, a mood of cold suspicion, disturbing images and a solid cast. As an aside, be on the lookout for a very young Harrison Ford.
Minuses: none really.
Comments: a gem from the 70s, Hollywood’s last great era, and a cryptic, nightmarish film.


MBiS

© 2009 – All rights reserved

Dirty Pretty Things

Genre: suspense drama
Director: Stephen Frears
Release: 2003
Studio: Celador Films, Celador Productions, BBC Films, Blue Films, Miramax Films
Rating: R
MBiS score: 8.2/10


One From The Heart


For Okwe (Chiwetel Ejiofor), an illegal immigrant living in London, time and sleep are priceless commodities. To make ends meet, he must hold down two jobs simultaneously – as a cab driver and a porter at the Baltic Hotel – and his precarious status allows for little socializing except with Senay (Audrey Tautou), a young Turkish woman also living in limbo on British soil. That should be enough trouble for any man to endure… until a plumbing problem in room 510 puts our hero in a real bind. With Sophie Okonedo (Juliette), Sergi Lopez (Signor Juan or ‘Sneaky’, Okwe’s boss at the Baltic) and Benedict Wong (Guo Yi).

I was attracted to DIRTY PRETTY THINGS because I remembered reading favourable reviews upon its release but, after finally seeing it, I must admit that it is a much better film than I was led to believe. Its value is twofold, firstly as a candid commentary about the developed world and secondly as a tight suspense film that offers great entertainment. On a socio-political level, it clearly denounces our Western world’s growing disdain for immigrants by focusing on innocent foreigners who have been forced into subservience as a result of our faltering economies (and, I might add, the hardening of consciences since 9/11 despite Barack Obama's soothing words). Among the foreigners depicted in the movie, Okwe will strike you as a caring and sympathetic man burdened by past and present alike, a noble character convincingly portrayed by Chiwetel Ejiofor. As for Senay, a young woman handicapped by her sex as well as her social status, some critics have panned Audrey Tautou’s incarnation but it must be said that Senay’s inexperience and vulnerability certainly contributed to Audrey’s restraint in her role. Among the other characters, Benedict Wong impressed me with his tongue-in-cheek performance while Sergi Lopez proved himself worthy of Robert De Niro in one of his meaner streaks.

Beyond these comments, I will reveal nothing of the movie’s story-line because the less you know about it, the more impact it will generate. From a technical standpoint, the movie also gives little cause for criticism, with its crisp visuals and faultless direction by Stephen Frears, one of the best in the business. That should cover the essentials, I think.

Need I say more? Not really. Do watch this thrilling bit of cinema and remember to be kind to foreigners around you. Many of them are stuck at the bottom of the social ladder and God only knows how painful life can be for them.


MBiS

© 2009 – All rights reserved

Z

Genre: political drama
With: Yves Montand, Jean-Louis Trintignant, Irene Papas
Director: Constantin Costa-Gavras
Release: 1969
Studio: Fox Lorber Associates
Rating: PG
MBiS score: 9.1/10


QuickView


Story-line: when threats are uttered against a charismatic opposition leader, his followers ask for police protection but, strangely enough, authorities see little need for action.
Pluses: a riveting drama depicting blood-curdling events, tremendous acting performances, Mikis Theodorakis’ perfect score and a bevy of unforgettable characters.
Minuses: none whatsoever.
Comments: a story riddled with sleaze, corruption and genuine danger. Without a doubt, one of the very best political thrillers ever shown on the silver screen.


MBiS

© 2009 – All rights reserved

Sweet Sixteen

Genre: crime drama
Director: Ken Loach
Release: 2003
Studio: Diaphana Films, Alta Films, BBC Films, Lionsgate
Rating: R
MBiS score: 8.2/10


Keeping Busy While Mom Is Away


Unlike most Scottish teenagers, fifteen-year-old Liam (Martin Compston) already knows about the seedier side of life. His mother Jean (Michelle Coulter) has been taken away from him due to a narcotics violation and, for the time being, he is forced to share living quarters with his dour grandfather and a trafficker named Stan (Gary McCormack), the man responsible for Jean’s incarceration. But all is not lost and our young man is far from disheartened. In fact, he sees happiness ahead for his family and himself… and will spare no effort to make it happen. With Annmarie Fulton (Chantelle, Liam’s sister) and William Ruane (Pinball, his best friend).

Gritty, working-class struggles are a Ken Loach specialty and SWEET SIXTEEN exemplifies his penchant for small-scale, unvarnished dramas. The movie’s highlight is a tough, tight and rock-solid script about a young man raised in a complex criminal environment who becomes a splendid delinquent in his own right. To reach his goal of happiness – which is no doubt honourable – he will use whatever tools his background has equipped him with and take any stance that circumstances dictate. Drug trafficking permeates his view of the world, a world in which making enemies and settling scores are necessary steps toward a new future for himself and his loved ones.

For us movie fans, SWEET SIXTEEN translates into a fine cinematic experience. It boasts able acting, especially by Martin Compston as the resourceful Liam, expert direction and a powerful payoff. Though its subject matter is unremittingly serious, the movie is by no means a trudge and its dialogues peppered with obscenities add touches of levity to our young man’s determined quest. Other than that, I see no need to comment on Loach’s movie since its mastery is simply unassailable.

So be it. I emphatically recommend SWEET SIXTEEN to all movie buffs in blogland and elsewhere on the Net. I found it a compelling watch and so will you.


MBiS

© 2009 – All rights reserved

Far from the Madding Crowd (1967)

Genre: romantic drama
With: Julie Christie, Alan Bates, Terence Stamp
Director: John Schlesinger
Release: 1967
Studio: Vic Films, Appia Films, MGM
Rating: GP
MBiS score: 8.3/10


QuickView


Story-line: the English countryside, circa 1860. Bathsheba Everdene, a pretty landowner, is an object of attention for several men but catching her fancy will be no easy task.
Pluses: a stark drama expertly acted and filmed.
Minuses: none really, but this movie won’t please sheep lovers.
Comments: FAR FROM THE MADDING CROWD is a fine motion picture with a whirlwind ending. Every serious cinephile should see it one day.


MBiS

© 2009 – All rights reserved

Ruy Blas (2002)

Genre: historical drama
Director: Jacques Weber
Release: 2002
Studio: Arte France
Rating: -
MBiS score: 8.1/10


Love’s Ardour Tempered With Disgrace


Madrid, 1690. When he is banished from King Charles’ court for refusing to marry a lady-in-waiting, Don Salluste (Gérard Depardieu) submits to the royal order but remains defiant. Such an affront will carry a price, warns the nobleman, and Queen Maria (Carole Bouquet) will be the one to pay it. With Xavier Gallais (Ruy Blas, Don Salluste’s lackey), Jacques Weber (Don César, also known as Zafari, Don Salluste’s outlaw cousin), Jacques Sereys (Don Guritan) and Anne Suarez (Casilda).

As a movie buff, I have spent years avoiding theatrical dramas before bringing myself to watch one. If that's your case, then viewing this mostly accurate adaptation of a Victor Hugo play will serve as a grand introduction to stage plays.

Hugo’s plot in RUY BLAS is truly devilish, his dialogues sparkle with poetry and verve despite a few heavier passages and his character interaction rivals any by Shakespeare. Of course, you must not expect lushness from this made-for-TV film but its low-budget feel is compensated by a fine cast whose expressivity dazzled me. Gérard Depardieu and Carole Bouquet, two big names in French cinema, will grab your attention with very professional turns. Depardieu’s character is determined, fiendish and cruel; I found his way of luring Ruy Blas into his scheme especially despicable. Some may find Xavier Gallais less stellar but, in my book, he shines also in a pivotal role; after being humbled by fate, his character is offered redemption through love and, given such an opportunity, I would have been utterly overwhelmed. As for Jacques Weber, who doubles as director and actor, his Zafari brings a touch of cutthroat humour to the production. One more comment: I was really moved by one particular love scene, a duo so tender and sincere that I need not elaborate on it; once you reach it, you will surely know what I’m talking about.

When Shakespeare wrote ‘The play’s the thing’, he may have hinted at something else but his lapidary statement could easily apply to RUY BLAS. Do watch this tragic piece of French theatre, preferably with loved ones around you.


MBiS

© 2009 – All rights reserved

Retour de Martin Guerre (Le)

English title: The Return of Martin Guerre
Genre: historical drama
With: Gérard Depardieu, Nathalie Baye, Roger Planchon
Director: Daniel Vigne
Release: 1982
Studio: SFPC, Productions Marcel Dasssault, FR3 Films
Rating: -
MBiS score: 8.3/10


QuickView


Story-line: years after leaving his 16th century French village as a laughingstock, Martin Guerre returns to win everyone’s respect.
Pluses: an otherworldly setting, great acting and a fascinating story based on true events.
Minuses: none whatsoever.
Comments: a rare depiction of life in the Middle Ages with its superstitions and backward mores but, most of all, an unforgettable film that packs a real wallop. A treat for all movie buffs.


MBiS

© 2009 – All rights reserved

Bowling for Columbine

Genre: social documentary
Director: Michael Moore
Release: 2002
Studio: Dog Eat Dog Films, United Artists Films et al. – MGM Distribution Company
Rating: R
MBiS score: 8.2/10


'Happiness is a Warm Gun'


If John Lennon borrowed a slogan from a gun magazine to write a hit song, Michael Moore went one step further and documented America’s fascination with firearms in BOWLING FOR COLUMBINE.

Moore, himself a member of the National Rifle Association, pulls no punches in this important documentary on the excesses of gun culture. Using the horrible Littleton killings as a starting point and giving a voice to Columbine students, Marilyn Manson, Charlton Heston and various other stakeholders, his film decries the climate of fear and violence now prevalent in America. There is no denying that Moore does succeed time and again in his demonstration, as when he cites a bank promotion offering a rifle to new customers and recounts terrible stories of gun misuse. For good measure, he also rebukes corporate America, criticizes all recent US Administrations and confronts a couple of prominent people to devastating effect. His agenda may be ambitious but Moore, who knows how to provoke while putting on a good show, manages to deliver a film both tragic and entertaining, a feat very few other documentarians can accomplish with equal brio.

Some may suggest that Moore’s treatment is sensationalistic and lacks depth but it must also be said that the issue he tackles is deep-rooted and complex. Throughout history, America has relied on guns to expand, to protect itself and to advance its view of the world. To Moore’s argument that Canada is less fixated with weaponry than the US, I would add that meteorological and cultural factors – aside from America’s status as a great warrior nation – may also explain this difference. For one thing, those harsh winters in the Great White North do affect one’s attitude towards life and his fellow man. For another, Canada is less entranced by Hollywood, a force for good but also a formidable marketer of violence. Would the world be a better place if the movie business renounced certain genres that add nothing to the human experience? I certainly think so. Don’t we already have enough gorefests, super heroes, serial killers and speed freaks to last us a generation or two? Most definitely.

That being said, Moore’s film has great social value but is no masterpiece either. In his haste to lambaste, our man from Flint does take a few short cuts and his train of thought gets muddled halfway through but, to his credit, he manages to regain his footing and to close with energy and impact. His case may not be to everyone’s liking but, at the very least, his readiness to question a national trait shows courage and, yes, a good dose of patriotism. It is by practicing a dialectic approach that America has attained greatness as a nation. Moore’s effort at consciousness-raising simply follows this old and venerable tradition.

Whatever your opinion, it is essential that you watch this Cannes and Oscar winner from a first-rate American polemicist.


MBiS

© 2009 – All rights reserved

Funny Girl

Genre: comedy drama
With: Barbra Streisand, Omar Sharif and Kay Medford
Director: William Wyler
Release: 1968
Studio: Rastar Prodns - Sony Pictures Releasing
Rating: G
MBiS score: 8.2/10


QuickView


Story-line: this movie follows Fanny Brice’s quest to become a star in the 20s.
Pluses: an absolutely perfect Barbra Streisand, Omar Sharif’s great charisma, excellent songs.
Minuses: none really.
Comments: a fine piece of Hollywood entertainment that was followed by a bittersweet sequel, FUNNY LADY. Quality time for movie buffs.


MBiS

© 2009 – All rights reserved

Owning Mahowny

Genre: psychological drama
Director: Richard Kwietniowski
Release: 2003
Studio: Alliance Atlantis et al. - Sony Pictures Classics
Rating: R
MBiS score: 8.1/10


Make or Break


Dan Mahowny (Philip Seymour Hoffman) is a consummate money man. By day, he orchestrates brilliant financial manoeuvres for his bank. By night, he loves going to the track to bet on horse races. How does he manage all of this action? To find out, you will need to see the movie. With Minnie Driver (Belinda, Dan’s girlfriend), Maury Chaykin (Frank Perlin), John Hurt (Victor Foss), Sonja Smits (Dana Selkirk) and Chris Collins (Bernie).

OWNING MAHOWNY, which is based on real-life events, establishes its central theme early on and sticks to it. By warning you in its very first frames that people have « a public life, a private life and a secret life », it proffers a clear and inescapable statement about Dan’s personality and the events about to unfold. You can easily guess that Dan has a secret – or should I say a habit – one of those treacherous and irresistible cravings that permeate men’s lives and destroy them totally if left unchecked. Richard Kwietniowski’s film thus explores Dan’s habit in a methodical and non-judgmental way, without any real surprise, clever twist or deus ex machina, leaving the viewer to answer its pivotal question: why is this man attracted to Lady Luck?

Although a lot of money is involved in OWNING MAHOWNY and flashed about in the glitziest of places, the film itself is a low-budget affair that mirrors its main character’s serious, no-frills approach to life. Its modest production values may put you off at first but don’t even think of bailing out for you will miss a flawless, slow-burning drama that delivers handsomely as our banker’s habit gets more entrenched. Despite its predictability, Dan’s story is quite riveting and its tension will weigh on you like a wager on your life. The movie’s success also rests on a solid cast led by a remarkable Philip Seymour Hoffman (before CAPOTE) and John Hurt, whose courteousness cannot hide a predatory bent.

Trust me, this little movie will stay with you for a long time. What more can a cinephile ask for?


MBiS

© 2009 – All rights reserved

Body Heat

Genre: romantic drama
With: William Hurt, Kathleen Turner, Richard Crenna
Director: Lawrence Kasdan
Release: 1981
Studio: Ladd Company, Warner Brothers – Columbia
Rating: R
MBiS score: 8.2/10


QuickView


Story-line: a man, a woman and a husband in between. Need I say more?
Pluses: splendid acting by William Hurt and a physically commanding Kathleen Turner, a beautiful score by John Barry, a high-impact ending.
Minuses: none really.
Comments: a solid piece of entertainment for all of us movie fans. Sit back and enjoy!


MBiS

© 2009 – All rights reserved

Mala Educacion (La)

English title: Bad Education
Genre: psychological thriller
Director: Pedro Almodovar
Release: 2004
Studio: Warner Sogefilms, El Deseo - Sony Pictures Classics
Rating: NC-17
MBiS score: 8.6/10


A Tale of Mixed Emotions


Just when his inspiration was failing him, movie director Enrique Goded (Fele Martinez) receives a visit from Ignacio Rodriguez (Gael Garcia Bernal), an unemployed actor now calling himself Angel Andrade. Enrique dismisses Ignacio but, upon meeting him again, remembers their friendship and budding love affair sixteen years earlier and accepts to make a film based in part on the sad times they shared at St. John’s College. Unfortunately for Enrique, bringing the project to fruition will be more of a challenge than he expected. With Juan Fernandez (Martin), Alberto Ferreiro (Enrique Serrano), Javier Camara (Paquito), Nacho Perez (young Ignacio), Raul Garcia Forneiro (young Enrique), Daniel Gimenez Cacho (Father Manolo), Petra Martinez, Lluis Homar and Francisco Boira.

When this gem by Pedro Almodovar first came out, I sort of expected a detailed account of Enrique and Ignacio’s difficulties in school but these early-life events do not figure prominently in the overall story. LA MALA EDUCACION is in fact a mind-bending suspense film based on sexual identity. For your viewing pleasure, I must warn you that the movie may seem odd and confusing at first but, later on, a very important event will put everything into perspective and highlight the story’s genuine logic, richness and complexity. Without revealing anything, I may add that Almodovar’s script leaves a few questions unanswered – an appropriate choice for such a mysterious movie – and makes no attempts at humour.

LA MALA EDUCACION is gorgeous to look at with its vivid colours and is played out with even competence by a cast which comprises very few women; Gael Garcia Bernal’s busy turn is especially noteworthy. The movie’s dark and atmospheric mood is reinforced by a music score at once sinister and imbued with emotion.

All in all, this serious, original and troubling entry confirms Almodovar’s status as one of the world’s best directors. If you like jigsaw puzzles, you will enjoy putting this one together. A great pick for movie buffs.


MBiS

© 2009 – All rights reserved

Alexandre le bienheureux

English title: Very Happy Alexander
Genre: comedy
With: Philippe Noiret, Françoise Brion, Marlène Jobert
Director: Yves Robert
Release: 1968
Studio: Prodns de la Guéville, Madeleine Films, Films de la Colombe
Rating: -
MBiS score: 8.1/10


QuickView


Story-line: Alexandre, a farmer in rural France, dreams of the good life but his darling wife La Grande (the Tall One) simply doesn’t see things his way.
Pluses: a magical atmosphere à la BABE, Philippe Noiret’s fine performance, that wonderful dog, solid direction and a delightful music score.
Minuses: one bad scene involving local farmers could have been toned down but it detracts little from the overall result.
Comments: a fanciful, wondrous ode to laziness that warms the heart and soothes the soul. Alexandre is such a charming goldbrick that you will root for him every step of the way. Do see this simple, nostalgic gem.


MBiS

© 2009 – All rights reserved

Passion of the Christ (The)

Genre: religious drama
Director: Mel Gibson
Release: 2004
Studio: Icon Prodns - Equinoxe Films, Newmarket Films
Rating: R
MBiS score: 8.2/10


Never Discount Man’s Inbred Brutality


Several films have already been made about Jesus but, in his rendition, Mel Gibson has chosen to focus on the Nazarene’s last day as a mortal man, from his heartbreaking vigil on the Mount of Olives to his crucifixion at Golgotha. Accordingly, Gibson’s film emphasizes the insane violence that Jesus brought upon himself by preaching a faith unacceptable to religious leaders of his day. Time and time again, history has shown us that subversion begets repression and, when he embarked upon his mission, Jesus knew full well what would happen to him. Nevertheless, he carried on and, as seen in THE PASSION OF THE CHRIST, he sacrificed his whole being for his principles and all of mankind.

To drive home this timeless message of cruelty and redemption, Gibson assembled an international cast including Jim Caviezel (Jesus), Maia Morgenstern (the Virgin Mary), Monica Bellucci (Mary Magdalene), Mattia Sbragia (Ciaphas, the High Priest), Hristo Shopov (Pontius Pilate), Luca Lionello (Judas Iscariot) and many others. He also added a few flashbacks for context and a character not specifically mentioned in the Scriptures – a contented Satan played by Rosalinda Celentano – who inspires and witnesses the mayhem. From a technical point of view, the Saviour’s passion is depicted with aesthetic sense, great detail (dialogues were written in Aramaic and Latin) and horrendous realism. If you have read Ian Wilson’s remarkable book on the Shroud of Turin, which thoroughly explains the many horrible aspects of crucifixion, you will appreciate Gibson’s competent recreation. The flagellation scene with spiked whips is especially heart-rending; according to Wilson, that ordeal alone was instrumental in Jesus’ early death. Some may argue that the movie’s violence is excessive but most of it is confirmed by Gospel accounts and the customs of the day; there is really nothing gratuitous or exploitative about it.

As we all know, the film sparked many a controversy when it came out. Some have accused Gibson of being biased against Jews. Since I am a mere cinephile, I will voice no opinion on the matter but, in my view, the film contains no evidence of anti-Semitism. It is true that Jews (and Romans) were responsible for Jesus’ death but, in similar circumstances, men of other races or ethnic groups have behaved in much the same fashion throughout history; therefore, if we must play the blame game, we should indict all of humanity, myself included, for the barbaric events committed twenty centuries ago in Jerusalem and the atrocities perpetuating even today.

What more can I say about THE PASSION OF THE CHRIST? That it is a truly memorable production, a useful lesson well played by all actors and ably scored by John Debney. On a personal level, the film will affect you in much the same way as SCHINDLER’S LIST for it is an unforgettable and truly stupefying experience. In these times of trouble, it also serves as a necessary condemnation of human folly and the killing of innocent people any day and anywhere.


MBiS

© 2009 – All rights reserved

Amarcord

Genre: ensemble portrait
With: Bruno Zanin, Magali Noël and Armando Brancia
Director: Federico Fellini
Release: 1973
Studio: PIC et al. - Vides International et al.
Rating: R
MBiS score: 9.0/10


QuickView


Story-line: AMARCORD depicts various people who lived in Rimini, Italy, during Fellini’s childhood.
Pluses: a surreal atmosphere, outrageous sketches, scenes as gross as they are engrossing.
Minuses: may lack unity but delivers formidable entertainment.
Comments: do not miss this over-the-top masterpiece full of laughs and genuine affection. You will never forget those zany classroom episodes. One of Fellini’s best films.


MBiS

© 2009 – All rights reserved