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Sunday, August 9, 2009

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

Sunday, August 2, 2009

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


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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

Wednesday, July 29, 2009

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

Sunday, July 19, 2009

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


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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

Tuesday, July 7, 2009

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