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


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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


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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


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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


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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

Hable con Ella

English title: Talk to Her
Genre: psychological drama
Director: Pedro Almodovar
Release: 2002
Studio: El Deseo - Sony Pictures Classics
Rating: R
MBiS score: 8.7/10


Life, Death And That Something In Between


After witnessing a tragedy, novelist Marco Zuluaga (Dario Grandinetti) befriends Benigno Martin (Javier Cámara), a hospital worker taking care of a comatose patient named Alicia. With Leonor Watling (Alicia Roncero), Rosario Flores (Lydia Gonzalez), Geraldine Chaplin (Katarina), Mariola Fuentes (Rosa) and Lola Dueñas (Matilde). Includes a bonus performance by Brazilian singer Caetano Veloso.

In other circumstances, I would apologize for the vagueness of my synopsis but, in this case, there was reason for it: HABLE CON ELLA defies description. Once you see it, you will understand why I kept its mysteries under wraps and, hopefully, the film’s peculiar magic will stay with you for weeks on end. To fall under its spell, you only need patience and a little empathy, for HABLE CON ELLA is the kind of film that slowly confounds you as life always does with its mind-bending meanders and ever-changing dynamics. Trust Pedro Almodovar, with his fertile imagination and storytelling prowess, to pull off such an immaculate and almost metaphysical study about life, love and yearning.

Of course, the movie bears Almodovar’s unmistakable trademarks: a wildly original story-line, crisp visuals and stylistic flair, outrageous dialogues and situations inspired by TV soap operas and a few well-deserved jabs about sensationalism in the media. But what struck me most was its cast, those four characters who drive the story with their quirky seriousness. You’ll enjoy Marco’s company and appreciate Benigno’s dedication but, as is often the case with Almodovar, you will be fascinated by the ladies in the story. Lydia, the hotheaded young woman who fights bulls and men with equal energy, shows the impetuousness of a wounded animal and the same disregard for risk. As for Alicia, the dancer now stranded in a coma, you will be attracted to her like a moth to a flame; her enigmatic presence remains a challenge to both life and death, an intriguing riddle that intoxicates the mind… rarely will you see a movie character exude so much power while accomplishing so little. I could add, to compensate for my rather elliptical synopsis, that one of our characters harbours deep secrets but, as in THE CRYING GAME, there is nothing to be gained by revealing them ahead of time. On the negative side, there are a couple of coincidences in the script that may seem forced but, even for a nitpicker like myself, they rank as minor – if not minute – annoyances.

There you have it. From the get-go, I never doubted that HABLE CON ELLA was a major work and you won’t either. With pictures, sound and intelligence, Almodovar has fashioned a loving ode to women and an impossibly good movie for all of us cinephiles.


MBiS

© 2009 – All rights reserved