25 Great Films That You (Probably) Haven't Seen

[Spinal]

It's really difficult to find a film that someone else on Match Cut hasn't seen. It's even harder to find one that's actually really good. Still, there are a handful of films that I really enjoy that I don't believe I have ever seen discussed on this website outside of my comments. My goal is to collect these together and ask you to consider checking these out one more time. A few of these you probably haven't seen due to issues of access, but many of them are available through Netflix.

[MacGuffin]

I'm excited for this one.

[balmakboor]

Bring it on.

[Beau]

I hope to (probably) enjoy this.

[EyesWideOpen]

If their available through netflix I'll watch them.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/crazylove.jpg

Crazy Love

Director: Dominique Deruddere
Year: 1987

Available through Netflix? Yes

Not to be confused with the recent documentary of the same name, Crazy Love is a darkly comic story of budding sexuality that varies in tone from honest and tender to painful and shocking. Told in three parts, it somehow all works and leaves a lasting impression. Delightfully offbeat.

Here is a review I wrote in March of 2007:

"There’s really only one explanation for the fact that Belgian director, Dominique Deruddere’s debut feature (based on the writings of Charles Bukowski) is not remembered fondly as one of the 1980’s great statements on the painful awkwardness of adolescence and budding sexuality. It is because the film builds to an act that is so taboo that it seems unimaginable that it actually occurs in the real world. And yet it must, for how else would we have a word for it? It is an act that has caused Crazy Love to be released in a DVD package that trumpets the film’s credentials as a piece of bizarro cinema, comparing it to David Lynch’s Eraserhead. And yet, in truth, the film is not schlocky or surreal, neither exploitative nor extreme. Apart from some comically disturbing acne makeup, Crazy Love is surprisingly restrained and tender considering its subject matter. Make no mistake: it is certainly frank in regards to sexuality. However, it is not a cynical film, taking as its protagonist a man who is a romantic at heart despite the intense resistance he finds in reality.

When we first see Harry Voss, the year is 1955 and he is in the cinema watching a film in which a prince and princess head off towards a fairy tale ending. The impact is so great on the twelve-year-old boy that he steals a promotional movie still from the theater’s display case and takes it home with him. His older friend, more knowledgeable about sex, is unimpressed noting that the couple in the picture still has their clothes on. In the film’s first thirty minutes, we see young Harry come to the disheartening realization that physical attraction in the real world bears little resemblance to what he sees in the movies. His father is not a handsome prince, but rather a gruff looking, overweight man who snores loudly on the couch. His parents do not exchange passionate kisses bathed in a heavenly glow. On the contrary, they grunt and sweat under the covers in a fashion that seems decidedly utilitarian. His older friend, willing to instruct him in the ways of human sexuality, takes him to a nearby carnival to gaze upon female wrestlers and drunken lovers. The setting for this portion of the film is noteworthy as young Harry comes to consider human sexuality to be something of a grotesquerie. He takes in as much information as he can, hoping eventually to discover the beauty that lies underneath. By the end of the film’s first section, Harry is a little bit wiser about the world that surrounds him. However, he is not necessarily happier because of it, his naïve joy transformed into reluctant acquiescence.

The film’s middle section takes place later in Harry life, on the night of his senior prom. Still a romantic at heart and a practicing poet, Harry is cursed with a case of acne so bad that it nearly qualifies as a physical deformity. With a wicked sense of humor, Deruddere has pushed a common teenage affliction into the realm of the absurd. Little children stare on the bus in amazement. Harry’s female classmates recoil in disgust. Although the blemishes more closely resemble a new strain of the plague than something out of a Noxzema commercial, his doctor instructs him to be patient and let nature take its course. But for Harry, that is precisely the problem. Nature has taken its course and caused him to be intensely attracted to a beautiful girl that, in realistic terms, he cannot ever approach. He has composed poetry, using the letters of her name as inspiration and yet the thought of asking her for a dance fills him with horror. This may seem like familiar territory for a teen comedy; however, what separates Deruddere’s film from something more typical is not only his gift for black comedy, but how he demonstrates the way that these moments of intense social awkwardness can define us for a lifetime. Even when Harry is able to attain a small victory, he must do so through a desperate and heart-breaking act of self-parody.

Be warned: other reviewers will reveal openly what occurs in the final section of Crazy Love where we see Harry as a drunken outcast, rapidly approaching middle age. Personally, I am of the opinion that this development is best left for viewers to discover and experience within the flow of the film. I will, however, suggest that this section is effective at accomplishing much more than a cheap shock. It is the culmination of a narrative that suggests that the way we behave as adults is indicative of the way we are able to transition from youthful idealism to something more pragmatic. As Harry’s mother tells him, there are still beautiful things in life, even if they fall well short of our wildest fantasies. When we last see Harry, he is still stubbornly clinging to a notion of purity and romance that has long since died. We see that he has never successfully assimilated into a world that is decidedly imperfect and think to ourselves that it is no wonder that so many great poets have imploded so early in their lives. Don’t let the bland title or sensationalized marketing fool you. Crazy Love is a highly watchable film of great sensitivity, a seemingly forgotten gem of 1980’s world cinema."

[B-side]

Watching.

[balmakboor]

Crazy Love sounds pretty amazing. It's now on my radar.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/gits_photo_01.jpg

The Gits

Director: Kerri O'Kane
Year: 2005

Available through Netflix?: Yes

I started a thread about this one a few months back, but as far as I know, I didn't convince anyone to actually see the film. So I'll try again. Perhaps you felt that a low-profile documentary on a somewhat obscure indie band wasn't really your thing. But even if you're not crazy about their music, I feel like this is a compelling story that has the potential to profoundly affect you.

Here is a review I wrote in January of this year:

"Like Janis Joplin, Jim Morrison, Jimi Hendrix and Kurt Cobain, the dazzling, aggressive front-woman for the early 90s Seattle band, The Gits, died at that seemingly cursed age of 27. However, Mia Zapata, was anything but a rock and roll cliché. Unlike those more famous rock legends, there was nothing self-destructive about Mia’s early death. On the contrary, Mia’s life was violently ripped away from her in the summer of 1993 and her bloodied body left in the middle of a dark Seattle street. In such cases of tragedy, it can be tempting to romanticize the life that might have been lived, the accomplishments that might have been achieved. But those who know basic rock history and have had the opportunity to listen to Zapata’s band can certainly put two and two together and realize that Mia was in the right time and the right place to make quite a substantial impact.

How high Mia’s star would have risen is anybody’s guess. To be sure, The Gits would have benefited greatly from the Seattle explosion that was about to happen, including Nirvana, Pearl Jam, Soundgarden and all the rest. An Atlantic Records representative appears in the film and tells us that, without a doubt, he had the intent to offer the band a major label contract. Critical response to their first indie album was enthusiastic. Throughout the first half of Kerri O’Kane’s documentary, we follow the rise of the band, as they form (taking their name from a Monty Python skit) and play shows at Antioch College in Ohio, then move west to Seattle and set up shop with like-minded friends and musicians in a Capitol Hill dwelling that eventually takes on the name, The Rathouse.

The surviving members share anecdotes about charming dive bars and living as a poor artist. Most importantly, we are given ample opportunity to listen to the band’s music through live concert footage. We note Zapata’s signature blues-punk vocals and gritty, intelligent lyrics underscored by the hard-charging, skillful musicianship of her bandmates. And we realize that this was no mere grunge band. We realize that The Gits had something to offer the music world that was all their own. Mainstream acceptance and videos on MTV might have been an iffy proposition, but this was a band that was peaking and looked to have room to grow.

The second half of the film details Mia’s tragic end at the hands of a random assailant. Without warning, Zapata was raped and murdered while walking home from a favorite bar after spending time with friends who say that she was in high spirits, optimistic about her future after playing a successful solo show. An investigation soon follows, but with no success. Mia’s murderer, it seems, has escaped justice and members of the music community begin to suspect that the criminal may be one of their own.

The strength of O’Kane’s film, beyond the dynamic subject matter, is how much of a sense we get of the love, respect and admiration Zapata inspired in those around her. We get a true feeling for the community that supported her and the family atmosphere provided by her friends, colleagues and bandmates. O’Kane understands why Zapata is an important figure, but resists the temptation to overstate the case, allowing the music and the memories of loved ones to speak for themselves. Most moving of all is the testimony of Mia’s father who naturally provides a very different perspective on her daughter before asserting that 'now she belongs to you.' The story of Mia Zapata is one that deserves to be heard for many reasons and The Gits is both a fitting tribute to her life and a exhilarating celebration of her music."

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/fortean_times_1101_7.jpg

The Bothersome Man

Director: Jens Lien
Year: 2006

Available on Netflix?: Yes

In February of 2007, I saw this film at the Portland Film Festival. Looking back, the comments I wrote are surprisingly not as enthusiastic as I feel about the film now. At the time, I was much more taken with the zombie comedy, Fido. However, I assure you that the film has lingered pleasantly in my memory and that it has grown in my esteem. Some films are like that.

Ideally, I would have rewatched the film and updated these comments, but I will simply present what I wrote at the time and invite you to further investigate the film for yourself. What I don't communicate effectively here is that the film is often very, very funny. Written in February of 2007:

"In Bothersome Man, Andreas finds himself on a bus, traveling by himself to a remote city where he is greeted by a very modest welcoming committee and then ushered off to a new job and apartment that have been pre-arranged for him. Although he has no recollection of how he came to board the bus, all initially seems well. The co-workers are all friendly and it does not take him long to find not one but two beautiful lovers. However, Andreas soon finds that virtually everything about the town is utterly vanilla. Food lacks flavor. Alcohol lacks potency. Sex lacks passion. When Andreas expresses even the slightest displeasure, he is regarded warily. Bothersome Man is at its best when it is laying out the universe into which Andreas has stumbled … or perhaps been birthed. Predictably, Andreas struggles to resist his environment and eventually to escape. His efforts lead to a final shot that is appropriately vague, but lacking in deep metaphorical power. As an audience, we don’t necessarily require more answers; however, we are left with the impression that the filmmakers are throwing up their hands and giving up on how the film should be resolved. Still, there is plenty along the way to make the film worth seeing – enough twists to a somewhat familiar formula to keep us intrigued – with the film’s highlight possibly being one of the most ill-conceived suicide attempts ever committed to film."

[Winston*]

Hey, I've seen that one. Loved it.

[Philosophe_rouge]

Cool, doing well so far. Haven't even heard of these :/

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/img00834.jpg

Only Human

Directors: Dominic Harari and Teresa Pelegri
Year: 2004

Available from Netflix?: Yes

I saw this film just last night and it inspired me to start the thread, so let me tell you about it ...

Only Human is 'meet-the-parents' farce involving a young Jewish woman who brings home the man she intends to marry, having not told anyone that he is Palestinian. In describing the various members of the family, you might get the impression that this film is not too dissimilar to one of those recent oh-so-adorable indie comedies such as Little Miss Sunshine. There is the blind gun-toting war veteran Grandpa, the devoutly religious younger brother, the belly-dancing nympho sister and her ever so precocious daughter. And maybe, in reality, the film belongs in that same category. However, all of these characters and their various personalities contribute significantly to the way the plot unfolds, making the film feel organic enough to avoid excessive quirk. (OK, so maybe the Grandpa is a little over the top.)

At any rate, things are already awkward for Rafi, the Palestinian man, when he is asked to heat up a frozen block of soup in preparation for dinner. He accidentally drops the frozen soup out the window of the building where it drops several stories and knocks a man unconscious. Leni, the woman he hopes to marry, has asked her family to judge Rafi on his own merits, and to not make assumptions about him based on his ethnicity. However, as Rafi tries to determine whether or not he may have committed accidental manslaughter, his behavior grows more bizarre, merely confirming the initial suspicions of Leni's overly protective mother (played by Oscar nominee, Norma Aleandro).

With a charismatic cast, witty construction and brisk pacing, Only Human is not terribly concerned with making a profound statement on Israeli-Palestinian relations. Naturally the subject comes up from time to time, even erupting from the loving couple during a moment of elevated tempers. Instead the film takes another approach, hinted at by its modest title. Rather than use overt politics, the film places people from different backgrounds into a situation that is universally awkward and allows us to watch them work things out. This is not to say that Rafi's nationality ever stops being an issue. It simply means that any insight that we gain is from watching which characters retain their prejudices in a time of crisis and which characters let them fall away.

The cast is uniformly excellent, with the standouts probably being Aleandro in the role of the Jewish mother who fears that her frigidity has caused her husband to stray and Maria Botto in the role of the sex-hungry sister who just might find a way to seduce Rafi in the midst of all this mayhem. Only Human is what good farce should be: brisk, tight, surprising, sexy and a little bit dangerous.

[Qrazy]

Too many new millennium films on the list, maybe branch out a little.

Only Human and The Bothersome Man both look really interesting, I'll check 'em out.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/privilege1.jpg

Privilege

Director: Peter Watkins
Year: 1967

Available from Netflix?: Yes

As your friendly neighborhood Peter Watkins pusher, I've been delighted to see more and more people enjoy The War Game, Punishment Park and Edvard Munch, but as of yet, I haven't noticed anyone else mention this fantastic film that is now available on DVD.

Here's a review that I wrote in November of 2005:

"Peter Watkins’ Privilege, his follow-up to the Academy Award winning film, The War Game, notably shifts its target from those in charge of managing British government and defense to those in charge of managing British popular culture. Paul Jones (lead vocalist of Manfred Mann) plays the role of Steven Shorter, a manufactured media icon that is so incredibly huge that his latest hit can be heard on at least three different stations simultaneously. Indeed, his celebrity and influence have escalated to such enormous heights that he has caught the attention of powerful politicians and clergymen who wish to use his charisma to manipulate the will of Britain’s youth. Predating Ken Russell’s Tommy by nearly a decade, Privilege also draws a distinct connection between rock star and spiritual leader; however, it does not follow the traditional romantic view of rock and roll as a liberating force in the face of oppressive governmental and moralistic control. Instead, Watkins characterizes pop idols as tools used to distract young people away from issues that really matter. If your waking hours are spent obsessing over Steven Shorter and how good he looks in a swimsuit, then you’re not going to be out protesting your government’s involvement in wars overseas. Or so the logic goes.

Watkins’ tone fluctuates between silly -- such as a visit to the set of a commercial where the director’s training grossly exceeds the material -- and fiercely satiric, as when his off-screen voice informs viewers that the England of the near future will function under a one-party system, due to the fact that there was so little difference between the previous two parties anyway. As in his other films, Watkins employs a mixture of conventional fictional scenes and pseudo-documentary, not only to give his story a sense of immediacy, but to give him an opportunity to dissect the purpose and motivations of peripheral characters without having to construct an overly complicated plot. Steven’s stage show is an odd combination of pop balladeering and orchestrated pseudo-martyrdom. Led to the stage in handcuffs by police officers that bait the youthful crowd with oppressive glares, Steven inspires the same kind of reverential screams that met Elvis and the Beatles in their early years. What might serve as publicity grabbing offstage antics for other performers are here performed ritualistically as if there is some vicarious need being fulfilled in the hearts of his admirers as he goes through the motions of resisting arrest.

All of this may sound like a conventional parody of the rock and roll phenomenon fused with a healthy dose of Orwell, but even this description will not prepare the viewer for the brazen way that Watkins borrows fascistic imagery and uses it to indict the entertainment industry, the popular media and organized religion for their participation in manipulating the masses. Watkins’ film is at its best when it is at its most vicious, delivering the kind of unapologetic political scolding than is typical of his oeuvre. The more conventional dramatic scenes in which Steven expresses his inner angst are less effective, particularly since Jones, acting in his first film, is not nearly as engaging a presence outside of the concert scenes. Still, Privilege is well worth tracking down for its audacity and its prescience."

[Spinal]

Too many new millennium films on the list, maybe branch out a little.


Oh you. (http://www.youtube.com/watch?v=imfyiKN01NE)

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/johnny-got-his-gun-film.jpg

Johnny Got His Gun

Director: Dalton Trumbo
Year: 1971

Available from Netflix?: Yes

Better get to this one now, because it was just recently released on DVD and I'm guessing that it will soon be widely seen. Dalton Trumbo's adaptation of his own novel can stand alongside Charles Laughton's Night of the Hunter as one of the great one-off directorial efforts of all-time.

I watched and wrote about this one very recently:

"Johnny Got His Gun is haunting, powerful stuff. A World War I soldier is hit by a mortar shell and loses his arms, his legs and most of his face, leaving him little more than a brain trapped in darkness with his memories, fears and suppositions about what might be going on around him based on what he can feel. The great thing about the film is the way the flashbacks simulate a mind in great distress due to both trauma and the effect of sedatives. The soldier remembers conversations that probably took place, but also imagines others that never could have been - with an anachronistic Christ, his dead father and also his old girlfriend. The film's subject matter is ultra-grim, but the tale never drags because the film making itself - particularly the writing - is bold and alive. Anti-war film, surrealistic nightmare, extreme absurdist consideration of the relationship between mind and body ... it's all of these things. A must see."

Did I mention that Donald Sutherland plays Christ? I mean, no, I didn't ... so, I am now. According to IMDb, the Christ scenes were written by Luis Bunuel and they do indeed contain his vicious sense of humor.

Jason Robards is also great in the role of Joe's father, a man who is more sentimental about his fishing pole than his is about his own flesh-and-blood. Johhny Got His Gun is not really even a war film because so little of it takes place on the field of battle. Instead, it is a journey into a mind that has been cruelly imprisoned, comparable to the recent Diving Bell and the Butterfly, but far exceeding that film in insight, power and artistry. The recent DVD release also contains the Metallica "One" video, so you can pop it on after the movie and see how they incorporated scenes from the film.

[Qrazy]

http://img.photobucket.com/albums/v696/joel_harmon/johnny-got-his-gun-film.jpg

Johnny Got His Gun

Director: Dalton Trumbo
Year: 1971

Available from Netflix?: Yes

Better get to this one now, because it was just recently released on DVD and I'm guessing that it will soon be widely seen. Dalton Trumbo's adaptation of his own novel can stand alongside Charles Laughton's Night of the Hunter as one of the great one-off directorial efforts of all-time.

I watched and wrote about this one very recently:

"Johnny Got His Gun is haunting, powerful stuff. A World War I soldier is hit by a mortar shell and loses his arms, his legs and most of his face, leaving him little more than a brain trapped in darkness with his memories, fears and suppositions about what might be going on around him based on what he can feel. The great thing about the film is the way the flashbacks simulate a mind in great distress due to both trauma and the effect of sedatives. The soldier remembers conversations that probably took place, but also imagines others that never could have been - with an anachronistic Christ, his dead father and also his old girlfriend. The film's subject matter is ultra-grim, but the tale never drags because the film making itself - particularly the writing - is bold and alive. Anti-war film, surrealistic nightmare, extreme absurdist consideration of the relationship between mind and body ... it's all of these things. A must see."

Did I mention that Donald Sutherland plays Christ? I mean, no, I didn't ... so, I am now. According to IMDb, the Christ scenes were written by Luis Bunuel and they do indeed contain his vicious sense of humor.

Jason Robards is also great in the role of Joe's father, a man who is more sentimental about his fishing pole than his is about his own flesh-and-blood. Johhny Got His Gun is not really even a war film because so little of it takes place on the field of battle. Instead, it is a journey into a mind that has been cruelly imprisoned, comparable to the recent Diving Bell and the Butterfly, but far exceeding that film in insight, power and artistry. The recent DVD release also contains the Metallica "One" video, so you can pop it on after the movie and see how they incorporated scenes from the film.

I wasn't super enthusiastic about this, probably because I read the book a while back and Trumbo's prose far outstrips his directorial talents. I too liked the segments with Sutherland and Robards. Interesting that Bunuel wrote the Christ sequences... did you also get a bit of a Jodorowsky vibe from that sideshow dream sequence in the desert?

As to what I did not like, I have no specific gripes. Some shots and scenes worked better than others. Trumbo shows some stylistic verve and talent (the day/night cuts for instance) and certain moments are very emotionally affecting (Robards holding him on the fishing trip). However, on the negative side the visual transitions into dream sequences and the overall drama would have benefited from a greater fluidity which the novel's prose possesses.

But the message and content do make the transition to the screen and it's a brilliant and horrifying tale. Aside from it's anti-war stance the story itself is perhaps the most compelling narrative argument for active euthanasia I've ever witnessed.

I would say that The Diving Bell and the Butterfly is better shot and acted but that Johnny Got His Gun has more depth.

[Russ]

Spinal, have you (or Qrazy) seen that film that I'm always on about (The Scenic Route, Mark Rappaport, 1978)? It'd be a perfect fit for this thread, what with only 22 IMDb votes. I think you'd like it a lot; Q, I'm not so sure about. Seems like I'm the only one here who's seen it, and I'd be interested to hear other folks' take on it.

[Qrazy]

Spinal, have you (or Qrazy) seen that film that I'm always on about (The Scenic Route, Mark Rappaport, 1978)? It'd be a perfect fit for this thread, what with only 22 IMDb votes. I think you'd like it a lot; Q, I'm not so sure about.

I have not but I'll prioritize it. I was recently rec'd the following films and that was on the list...

Invasion
What Happened Was
Scenic Route
Local Color
Ice
Milestone
Wanda
Girlfriend
Little Stiff
Sink or Swim
Rules of the Road

[Spinal]

I would say that The Diving Bell and the Butterfly is better shot and acted but that Johnny Got His Gun has more depth.

I will concede that the lead performance by Timothy Bottoms is not great. I've kind of avoided talking about him while selling the film's strong points. Still, I don't think he distracts too much. There is also no Marie-Josée Croze, so Diving Bell has the advantage there.

[Spinal]

Spinal, have you (or Qrazy) seen that film that I'm always on about (The Scenic Route, Mark Rappaport, 1978)? It'd be a perfect fit for this thread, what with only 22 IMDb votes. I think you'd like it a lot; Q, I'm not so sure about. Seems like I'm the only one here who's seen it, and I'd be interested to hear other folks' take on it.

Have not. Will check it out when possible.

[Qrazy]

I will concede that the lead performance by Timothy Bottoms is not great. I've kind of avoided talking about him while selling the film's strong points. Still, I don't think he distracts too much. There is also no Marie-Josée Croze, a plus for any film.

Hrm I can't say I've liked or disliked the three roles (also seen her in Diving Bell and Barbarian Invasions) I've seen her in. She seems adequate but not exceptional. Did you particularly dislike in her Munich or?

And yeah Bottoms isn't terrible either, just bland. Although some of his voiceover work doesn't sell the horror of the situation (legs/arms shouting). I bet Lynch would do a great Johnny Got His Gun adaptation.

[Spinal]

Hrm I can't say I've liked or disliked the three roles (also seen her in Diving Bell and Barbarian Invasions) I've seen her in. She seems adequate but not exceptional. Did you particularly dislike in her Munich or?


My sentence was not clear. I like her a lot.

[Qrazy]

Speaking of quality one off directorial efforts, Electra Glide in Blue (Guercio) is a strong outing. But I think a decent number of people on Match-cut have seen it.

[B-side]

Privilege sounds interesting. I'll look into it.

[Qrazy]

My sentence was not clear. I like her a lot.

Ah k, yeah she seems fairly solid. Also Max Von Sydow elevates any film as well.

[eternity]

Ah k, yeah she seems fairly solid. Also Max Von Sydow elevates any film as well.
Except for Dark Kingdom: The Dragon King. That's the one exception to such a rule.

[Raiders]

I have seen all of these films and they were all so awful I couldn't bear to rate or mention them.

[Skitch]

Fuckin' A good thread.

[balmakboor]

Fuckin' A good thread.

Damn straight. I've queued up everything so far plus it reminded me that I still need to see Wanda.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/more/dvdmovie_11633_front_1175.jpg

The Guernica Tree

Director: Fernando Arrabal
Year: 1975

Available from Netflix?: Yes

OK, so I know Russ has seen this one. But it's definitely worth mentioning again because Arrabal is such a delightfully peculiar and outrageous voice, and this may be his most potent work. I do so enjoy the reckless, political, taboo-breaking films of this era.

Here are thoughts I wrote in March of 2008:

"Fernando Arrabal’s take on the 1937 Nazi bombing of Guernica during the Spanish Civil War is to film what Picasso’s Guernica is to the world of art. Both are works that draw from the horrors of war and then use evocative symbols and purposeful distortions of reality to communicate feelings of anger, sadness and disgust. The film is set, not in Guernica, but rather in a nearby village called Villa Ramiro. There, Bohemians dance in the streets in elaborate costumes and a local artist pulls shocking pranks on both government officials and church goers. Up in a tower of stone, the count coldly lords over the citizens. From the very beginning, the seeds of conflict are planted.

When a beautiful woman arrives in town, riding sidesaddle, she is chased by three Fascist thugs intent on raping her. She flees into a small deserted house. When the men find her and close in on her, she reveals a handful of vipers in her hands, which she flings at her attackers in self-defense. This incident is a metaphor for the large-scale conflict that serves as the film’s center. The woman’s name is Vandale, a survivor of the Guernica bombings who has come to Villa Ramiro to provide inspiration and leadership to the rebels who wish to overthrow their oppressors.

After the rebels topple the local government officials and desecrate the nearby church in ways that would not seem out of place in a de Sade novel, Vandale rallies the villagers and urges them to take up arms against the approaching armies intent on definitively crushing the uprising. Also involved is a local academic who preaches pacifism and believes in ideas that are transported “on the wings of a dove.” However, in the face of enemy artillery, he struggles to translate his ideals into tangible action, worrying that he has cornered himself into passivity.

Arrabal directs with equal parts creativity, rage and vulgarity. It is worth noting that his grudge against fascism was developed first-hand in his childhood when his father, a political enemy of Franco, was placed in a labor camp for life. Though it is believed that he escaped from prison in 1941, he disappeared forever. With that context, it is perhaps easier to understand the perverse glee Arrabal takes with debasing the film’s oppressors, often through sexual or scatological imagery. Holding the film together is an underlying sense of poetry and the masterful use of allegorical characters. On rare occasions, Arrabal lapses into scenes that are either insincere or obvious audience bait for moral outrage. However, for the most part, The Guernica Tree is a stirring, captivating plea for humanity and courage in the face of governmental cruelties."

[Qrazy]

Been meaning to see that one for a bit. I'm on it.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/683835305_5cd7c2ca12.jpg

Hamlet

Director: Tony Richardson
Year: 1969

Available from Netflix? No

From the director of Tom Jones comes a streamlined version of Hamlet that is aggressive, brisk and to the point. Those who wonder why the heck Hamlet takes so damn long to make up his mind and actually take revenge may well be pleased with this version led by loopy Scottish actor, Nicol Williamson. Williamson excels at playing Hamlet's goofy, manic side and his pulsing, unpredictable energy is thrilling to watch. Anthony Hopkins plays his father, Claudius, despite being approximately the same age. Singer Marianne Faithfull plays the role of Ophelia.

http://img.photobucket.com/albums/v696/joel_harmon/_44893232_0fece3ca-c732-4cda-96f3-0.jpg

Hamlet, Prince of Denmark

Director: Rodney Benett
Year: 1980

Available from Netflix?: Yes

At the other end of the spectrum is the equally excellent but far more deliberate BBC version of Hamlet starring Derek Jacobi, who would later play Claudius in Kenneth Branagh's film version. This is perhaps the purist's adaptation, performed uncut and with full attention given to the actor and the language. This, of course, is not to say that the film lack thrills, rather that they are of a somewhat more cerebral nature. Patrick Stewart plays Claudius in this version and Claire Bloom is outstanding in the role of Hamlet's mother, Gertrude.

The BBC filmed all of Shakespeare's plays around this time and, as a college student, I watched most of them. They are all uncut and performed straight (i.e. no unusual production concepts, fun though those can be). If you've ever wanted to familiarize yourself with more of Shakespeare's work, this is a good way to do it.

[Derek]

The Guernica Tree

Director: Fernando Arrabal
Year: 1975

Available from Netflix?: Yes

I've been wanting to see something from Arrabal for a while. Now I know where to start.

Have you seen Konsintsev's Hamlet yet?

[Spinal]

Have you seen Konsintsev's Hamlet yet?

Dammit, no. Queued. Moved to position #1.

[Qrazy]

I've been wanting to see something from Arrabal for a while. Now I know where to start.

Have you seen Konsintsev's Hamlet yet?

Have you seen his Don Quixote?

[EyesWideOpen]

That 1969 version of Hamlet was just on one of the Encore channels in the last day or so. My wife's a Hamlet fan so she recorded it.

[Pathétique]

I've been wanting to watch Johnny Got His Gun ever since seeing that Metallica video.

[Qrazy]

Juno Reactors meets Color of Pomegranates (http://www.youtube.com/watch?v=v8LY2VgiikE)

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/citizenx11.jpg

Citizen X

Director: Chris Gerolmo
Year: 1995

Available from Netflix?: Yes

This film, originally made-for-cable, is a compelling twist on the serial killer genre. It stands out as exceptional for a few reasons. First and foremost is the lead performance by Stephen Rea who plays the man who toils long hours to track down the murderer responsible for the lives of over 50 women and children. Rea's minimalist acting serves him well here as the frustration and exhaustion build on his face. Secondly is the setting, which is the Soviet Union during the 1980s. Rea's character must not only work to find an elusive criminal. He must also deal with resistance from his superiors who believe 'Russian serial killer' to be a contradiction in terms - dismissing it as a "decadent Western phenomenon". This tension between 'what is happening' and 'what is permissible to discuss' fuels the film and our attachment to its protagonist. Finally, Citizen X contains a wealth of excellent supporting performances from Donald Sutherland (playing a political ally), Max von Sydow (as a psychological profiler), Joss Ackland (as the chief governmental antagonist) and Jeffrey DeMunn (as the killer). Citizen X is an exceptional drama that far surpasses the expectations one might have from its television roots.

[jenniferofthejungle]

I saw this on cable years ago, and agree with your description, Spinal. I was thinking of this movie earlier today because I watched Chikatilo's story today on Bio.

Jeffrey DeMunn, who I am used to seeing as a lawyer or a businessman, really surprised me here. I think it was perfect casting because the real Chikatilo wasn't suspected due to his rather ordinary looks and the facade of a normal family man. I love how stark and somber it looks and feels, and was surprised by the ending. This is one more people should see.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/3137420806_ef69fe591e.jpg

The Devil's Wanton (Also known as Prison)

Director: Ingmar Bergman
Year: 1949

Available from Netflix?: No

Re-reading my review of the film, I can't help but be reminded a little of Lars von Trier's upcoming film, Antichrist. Here is what I had to say about this film in August of 2006:

"Of the twenty-odd Ingmar Bergman films that I have seen, The Devil’s Wanton is the earliest, made in the director’s early thirties. Although over half a century of masterful filmmaking lay ahead, this early effort shows Bergman already with a firm handle on cinema’s possibilities and a clear vision of the themes he wants to convey. Made just a few years after the Hiroshima bombing, it is a deeply pessimistic film that suggests that hell may very well exist – right here on earth. Despite the gloominess of his theme, Bergman playfully bookends his tale with a beginning and an ending involving a group of filmmakers pondering the creation of the film seen in the middle. It is a story of a young prostitute, her accidental pregnancy and the way in which the child’s father goes about covering his tracks. Bergman’s ability to write challenging, captivating roles for women is unparalleled and the one he has created for lead actress Doris Svedlund is no exception. Standout scenes include a dream sequence involving a forest made up of human beings rather than trees and a tense scene in which a man notifies his wife that both of them are going to commit suicide whether she likes it or not. Although the prostitute’s tragic life is something that has really occurred within the universe of the film, we see the on-screen filmmakers conclude that such a work could never be made because it would leave viewers with a question too unbearable to ponder. Of course Bergman not only poses that question in this film, but would do so in numerous other films over the course of his illustrious career. The Devil’s Wanton is a worthy entry in a deep filmography and one that will doubtless become more readily available to film buffs eventually."

http://img.photobucket.com/albums/v696/joel_harmon/050809AfterThe570x380.jpg

After the Rehearsal

Director: Ingmar Bergman
Year: 1984

Available from Netflix?: No

Bergman's first film made after claiming that he was retiring from film-making, After the Rehearsal stars a couple of familiar faces. Erland Josephson plays a demanding theatre director, while Ingrid Thulin plays his former star and lover who appears in a long sequence that is most likely a dream. Lena Olin plays the director's current star and, as the title suggests, most of the film takes place after a rehearsal of Strindberg's A Dream Play when the young actress returns, claiming to be looking for a bracelet. The question becomes whether or not they will have an affair and play out this cat-and-mouse routine that the director has no doubt performed on many occasions. And if so, what does it all amount to? After the Rehearsal is notable for its insights into the relationship between actors and directors, older men and younger women and particularly older men who direct younger women. As always, Bergman's dialogue is loaded - brutally honest, sometimes to the point of pain. Thulin, not surprisingly, gives the film's most powerful performance as an aging actress considering what more she has to offer as her beauty begins to fade. Yes, the film was made for television. Yes, the setting is spare. But it is certainly not a film that should be neglected in your Bergman exploration if you are able to track it down.

[Spinal]

I saw this on cable years ago, and agree with your description, Spinal. I was thinking of this movie earlier today because I watched Chikatilo's story today on Bio.

Ah, cool. I'll have to try and catch that if they repeat it.

[soitgoes...]

http://img.photobucket.com/albums/v696/joel_harmon/3137420806_ef69fe591e.jpg

The Devil's Wanton (Also known as Prison)


Nice choice. A good early Bergman, though I would probably go with either To Joy or Summer with Monika to represent his strongest, little seen work.

[Spinal]

Nice choice. A good early Bergman, though I would probably go with either To Joy or Summer with Monika to represent his strongest, little seen work.

I think Monika has been seen by a handful of people here. Very good film. I like it a lot. To Joy is fine, but didn't make a very big impression on me.

[Boner M]

You're right. I haven't seen any of these films. Been meaning to see some Arrabal for a while, though.

[monolith94]

Juno Reactors meets Color of Pomegranates (http://www.youtube.com/watch?v=v8LY2VgiikE)
Seems somehow... exploitative. That said, it's always nice to look at Paradjanov.

[EyesWideOpen]

Watched Crazy Love last night and really enjoyed it. I thought the segments went down in quality as they went though and I much preferred the first to the last two. The netflix envelope said "Not for sensitive viewers" which I found amusing since I really didn't think their was much besides stuff that was implied, it's not like anything graphic was shown. And I'll disagree with you about the cartoonish acne makeup I've known two people in my life whose acne was at the same level as the main characters and it was just as hard on them.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/perfectcandidate_large.jpg

A Perfect Candidate

Directors: R.J. Cutler and David Van Taylor
Year: 1996

Available from Netflix?: Yes

Whenever an election year comes around and I find myself talking to a friend who is impassioned and forward-thinking, yet perhaps a bit too idealistic in regards to the election process, I invariably recommend that person this film. It is a documentary covering Oliver North's bid for a Virginia Senate seat in 1994. North, of course, was a central figure involved in the Iran-Contra scandal and was indicted on sixteen felony counts. Unfortunately for the good people of Virgina, North's Democratic opponent, Charles Robb, is not exactly an inspiration either, a man who confessed to having a long-lasting affair with a former Miss Virgina. As one voter succinctly puts it, "You gotta decide what you wanta vote for, the flu or the measles." The title, A Perfect Candidate, comes from a speech made by a black preacher to his congregation during a visit by Robb. In an endorsement that is comically reluctant, he assures his flock that while Robb is flawed, they have to give up on the idea of a perfect candidate suddenly rushing in to save the day. A Perfect Candidate is a pragmatic, often amusing look at the American election process, and a thoughtful consideration of what frustrated voters should do when the options on the ballot fall far short of what we might hope.

[Kurosawa Fan]

I've seen Citizen X! YES!!!

Most of the others I've never even heard of let alone seen. I've had Crazy Love on my queue for quite some time, but it's no closer to the top than it's ever been.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/California_Dreamin.jpg

California Dreamin'

Director: Christian Nemescu
Year: 2007

Available from Netflix?: Not yet

A NATO train filled with American soldiers is stalled in a small Romanian village because of a stubborn railway officer. The marines are transporting equipment to be used to aid the war in Kosovo. Eventually the marines leave the train and are invited to a local celebration where they dance with young women even though neither side speaks the others' language. This does not stop one couple from forging a quick, loving bond. Elsewhere, a group of factory workers begins to revolt, anticipating support from the new visitors. The ensemble is excellent, though Armand Assante stands out as the tough guy military captain who has to summon all the patience he can muster to remember to use diplomacy rather than force. Maria Dinulescu is also engaging and memorable as the young Romanian woman looking for an opportunity to learn English and leave her home for new opportunities. As evidenced by the central scene in which the presence of young Americans at a dance interrupts the male-female dynamics of the village, California Dreamin' is a compelling look at the delicacy of American intervention in foreign countries and the dilemmas that can arise unexpectedly. Sadly, the director, Christian Nemescu, was killed in a car accident weeks after shooting was concluded and therefore this is his final film.

[MacGuffin]

Yeah, I'd see that when it comes to Netflix.

[Pathétique]

The Sundance Channel is showing A Perfect Candidate tomorrow. I'm recording it.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/goyasghostpic3.jpg

Goya's Ghosts

Director: Milos Forman
Year: 2006

Available from Netflix?: Yes

Only a mystifying 28% of critics gave this film a positive rating according to the Rotten Tomatoes website, and, clearly, you and most of the world opted to believe them and stay away. The film barely topped $1 million dollars at the U.S. box office. I suppose then that you would think me crazy if I told you that I like the film more than Forman's much heralded One Flew Over the Cuckoo's Nest. But there you have it. The film is led by an extraordinary performance by Javier Bardem in the role of Brother Lorenzo, a member of the Spanish Inquisition. Unlike his riveting performance as the blunt intimidator, Anton Chigurh, here he plays an evil man who hides behind a mask of gentleness and composure. When a young model (Natalie Portman) is arrested on suspicions of spreading Judaism, the painter Goya (Stellan Skarsgard), who is painting a portrait of Lorenzo, asks him to investigate the matter. Lorenzo claims that since the young woman confessed to her crimes under torture, then she must be guilty, as God provides the innocent with the strength to deny guilt. What follows is a captivating and moving look at the way individuals can be crushed by the changing whims of authority. Goya's Ghosts contains excellent performances from its three leads, has Forman's typically extraordinary design elements (costuming, lighting, sets), covers a fascinating period in history and tackles a topical subject in a way that provokes a visceral, emotional reaction.

[Sycophant]

That one's near the top of my Netflix queue, from your recommendation. I should be watching it soon.

Good work on this thread, Spinal.

[B-side]

Yeah, I was initially put off by the critical response to Goya's, but after seeing some positive scores from trustworthy people and realizing I don't care what the critics say, I decided I need to see it.

[Mara]

You know, I have one I'd like to add when you're done with your list, that (according to the search function) hasn't been mentioned ONCE on this site.

[Llopin]

California Dreamin' is indeed a very fine movie. Such a pity.

By the by, Spinal, what have you read of Arrabal's? It seems to me that in the Americas he's more renowned as a filmmaker than a playwright, but his dramatic output is one of the most challenging that has come out of Spain (and even Europe overall).

[Spinal]

By the by, Spinal, what have you read of Arrabal's? It seems to me that in the Americas he's more renowned as a filmmaker than a playwright, but his dramatic output is one of the most challenging that has come out of Spain (and even Europe overall).

Yeah, I first got to know him as a playwright. I particularly like Picnic on the Battlefied as well as ... And They Put Handcuffs on the Flowers.

[monolith94]

I've seen Goya's Ghosts! I liked it, but I suppose not as much as you. The plot felt a little bit too predictable/mechanical for me, although not too much...

Nice, but nothing that shook my world.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/005657_5.jpg

Sister My Sister

Director: Nancy Meckler
Year: 1994

Available from Netflix?: No

The strange affair of the Papin sisters, two French maids who murdered their employer's wife and daughter in 1933, has served as the inspiration for a slew of films, plays and literature. Perhaps the most famous of these works is Jean Genet's play, The Maids, in which the duo are not actually sisters, but nonetheless act out their contempt for Madame through elaborate role-playing that verges on Sadean perversion. In Nancy Meckler's adaptation of Wendy Kesselman's play, the maids are not only sisters, but also lovers. The sexual nature of their relationship stems largely from their isolation and the fact that they have no one to provide consolation apart from each other. Within the household, the lower class servants are separated from the bourgeois employer and her dowdy daughter. Joely Richardson and Jodhi May make for an intense, captivating, sensual pair of sisters. However, the film's real star is Julie Walters who is both amusing and utterly convincing as the self-centered Madame the maids grow to despise.

[Mara]

I haven't seen the film, but I'm familiar with the actual case, and it was widely rumored at the time that the two were lovers. Dunno if it's true.

[Mara]

I haven't seen the film, but I'm familiar with the actual case, and it was widely rumored at the time that the two were lovers. Dunno if it's true.

I'm kind of into historic true crime. Lizzie Borden and Leopold and Loeb and stuff like that.

[Russ]

Damn, Spinal. Out of all these, I've only seen Johnny Got His Gun (no, I haven't seen The Guernica Tree). I have, however, heard of Hamlet.

Good show.

Can I also throw out John Paizs' Crime Wave? I know Sven has seen it, not sure who else has; I think you would really like it a lot.

[Russ]

Can I also throw out John Paizs' Crime Wave? I know Sven has seen it, not sure who else has; I know you would really like it a lot.
Fixed.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/36fillette.jpg

36 fillette

Director: Catherine Breillat
Year: 1988

Available from Netflix?: Yes

Like her audacious debut film, A Real Young Girl and perhaps her most notorious provocation, Fat Girl, Catherine Breillat's 36 fillette focuses on the sexual awakening of a young female barely into her teens. Perhaps even using the word 'awakening' is misleading, because the young protagonists in Breillat's films are often already startlingly awake when it comes to exploration of their sexuality. This trio of films are valuable and compelling because they address with frankness and maturity a topic that is difficult for filmmakers to discuss. These adolescents have developing bodies that are transitioning into womanhood and earning them the attraction of the opposite sex; however, mind and body do not necessarily develop at the same pace. Breillat's territory then is the place where we see a disconnect between woman and girl. She does not give us the safety net of moral judgment, which is why we can feel uncomfortable, appalled, curious, tense and titillated all at the same time. 36 fillette is the least explicit of the trio (though if you've seen the other two, you know that's stiff competition). It concerns a 14-year-old girl who sets out to lose her virginity and finds an opportunity with a much older man she meets at a club. Though the initial impulse is exciting, the reality of their interplay turns out to be somewhat less than she may have expected as the man turns out to be a rather sad figure. Delphine Zentout is a natural in the lead role, probably the most capable of Breillat's young actresses, and the film itself is comparatively restrained when considered against Breillat's other work. Beyond the situation itself, there are no major punches to the gut. Just solid, observant drama with characters that are specific and well-drawn.

[Spinal]

Can I also throw out John Paizs' Crime Wave? I know Sven has seen it, not sure who else has; I think you would really like it a lot.

Haven't seen it. Will try to keep it in mind. Netflix has Marker and Invasion!. Either of those worth seeing?

[B-side]

I'm a big Breillat fan. I believe I've only got this, Sex is Comedy and Last Mistress to see from her. This is priority above those 2.

[Mara]

I have, however, heard of Hamlet.

It's based on a play, right?

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/enkaerlighedshistorie.jpg

Kira's Reason: A Love Story

Director: Ole Christian Madsen
Year: 2001

Available from Netflix?: Yes

One of the gems of the Dogme95 movement, Kira's Reason makes fantastic use of imposed directorial limitations in order to deliver a gripping portrait of mental instability and marital strife. Tongue-and-cheek though it's creation may have been, Dogme's greatest asset has always been that it is a highly actor-friendly approach to making a film. Stine Stengade, a virtual unknown in the United States, is extraordinary in the lead role, playing a woman who has recently been released from a mental institution after two years. She and her husband attempt to work through both her unpredictability and his relationship with another woman. Kira is impulsive and reckless, and the film is highly effective at providing us with the sensation that we are in the backseat of her emotional roller coaster, involved but helpless -- particularly in a devastating episode where Kira's husband is forced to pick her up from a one-night stand. There are other films that cover similar territory, but Kira's Reason ranks among the best, outdoing Cassavetes at his own game. If for no other reason, see it for Stengade's performance, one of the stand-outs of the decade.

[dreamdead]

Very interested in this last film. Queued up. :)

[Ezee E]

Ole Christian Madsen has other movies available? After seeing Flame & Citron, I must seek that out.

[soitgoes...]

After the Rehearsal

I just watched this. I think its weakest point is that it is a filmed play basically. Just 70 minutes of dialogue in a fixed location, in this case, how apropos, a stage. This film definitely is just about as autobiographical a film you're going to find in Bergman's oeuvre. He definitely was a man who liked to get his actresses to give their all, so to speak, and Josephson does an admirable job being Bergman. Thulin and the entire flashback sequence steals this film.

[Spinal]

I just watched this. I think its weakest point is that it is a filmed play basically.

You should probably know that this is like my least favorite recurring criticism.

[MacGuffin]

You should probably know that this is like my least favorite recurring criticism.

I'm not really sure why.

[soitgoes...]

You should probably know that this is like my least favorite recurring criticism.
Why, besides the fact that theater is what you do and something you love? I don't seek out theater, nor do I love it. I love film. Though film sprang from theater they are two different things.

[Spinal]

It's not a good criticism because it relies upon a lazy stereotype about theatre as people just standing and talking to each other for two hours. What are you really trying to say? That the film was static? That it was tedious? That it was overly wordy? None of these things are inherent to plays, so your criticism means nothing to me unless I buy into an antiquated notion of what theatre is. It's static because it's static, not because it's a play. Watch something like Marat/Sade, which is basically 'just a filmed play', and you see how this criticism is not very useful.

[Qrazy]

It's not a good criticism because it relies upon a lazy stereotype about theatre as people just standing and talking to each other for two hours. What are you really trying to say? That the film was static? That it was tedious? That it was overly wordy? None of these things are inherent to plays, so your criticism means nothing to me unless I buy into an antiquated notion of what theatre is. It's static because it's static, not because it's a play. Watch something like Marat/Sade, which is basically 'just a filmed play', and you see how this criticism is not very useful.

I haven't seen the film so I cannot attest to it's accuracy here but I do not have a problem with the criticism in general (I've also done my fair share of theater). I take the criticism to mean that the film does not use cinematic technique to it's advantage. It is essentially a play and then the camera is just plunked down and used to directly capture the drama. I feel that a film ought to communicate something beyond it's drama. If it's just a filmed play it ought to have remained a play just as a book which is lazily adapted ought to have remained a book. The adaptation ought to take advantage of the medium of storytelling.

[soitgoes...]

It's not a good criticism because it relies upon a lazy stereotype about theatre as people just standing and talking to each other for two hours. What are you really trying to say? That the film was static? That it was tedious? That it was overly wordy? None of these things are inherent to plays, so your criticism means nothing to me unless I buy into an antiquated notion of what theatre is. It's static because it's static, not because it's a play. Watch something like Marat/Sade, which is basically 'just a filmed play', and you see how this criticism is not very useful.I see what you're saying. In my defense though, the film does take place entirely on a stage, which is where plays generally take place, it was made by a man who did indeed film plays for TV, it is mentioned to be a made-for-TV play on wikipedia, and lastly whether it is a lazy stereotype or not, it does indeed convey a certain idea to 95% of the people out there. I will take note of your criticism though, and be kind to not use it all willy-nilly. ;)

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/grimmi.jpg

Grimm

Director: Alex van Warmerdam
Year: 2003

Available from Netflix?: Yes

Once upon a time, there was a brother and a sister who were very, very hungry because their family was so poor. The mother and the father were very sad because they could not feed their children. Whatever should they do? One morning, the father took his children deep into the forest and told them to gather firewood. But before they knew it, their father was gone and the brother and the sister were all alone ... and lost.

By now, you probably recognize the familiar tale of Hansel and Gretel. So begins Grimm, a modern-day re-imagining of the classic fairy tale. From there, however, events get far less predictable. The brother and sister in this film are played by adults. They have to be, because the predicaments this duo get into often involve sudden violence and coercive sexuality. What Grimm retains from the original story are themes of trickery, deceit and loss of innocence. After all, Hansel and Gretel escape in the end, but only after becoming murderers. In Grimm, brother and sister quickly learn that survival in the big, bad world often involves taking advantage of others when the opportunity arises -- before they take advantage of you. This is not really a shocking film. Don't expect something too terribly twisted. It is, however, a pleasantly idiosyncratic film filled with memorable twists and turns.

[jenniferofthejungle]

Love this recommend, Spinal. There's a bit of a wait for it at the library, but I'll get to it soon.

[Sycophant]

Grimm came out on DVD when I was working at Hollywood Video. I'd heard nothing about it, but nearly watched it, like, twice. Should definitely give it a spin, then.

[thefourthwall]

Grimm sounds very intriguing and like it deals with some of the issues and themes that I like to think about/teach, so it's queued!

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/LawandOrder1_Wiseman.jpg

Law and Order

Director: Frederick Wiseman
Year: 1969

Available from Netflix?: No

In his Emmy-award winning documentary, Frederick Wiseman (High School, Titicut Follies) and his camera crew follow members of the Kansas City police force as they attempt to keep the peace. The officers handle situations of widely varying intensity, from a woman who is upset over being charged an extra $2 for her cab fare to an aggressive, violent youth who threatens to kill them at his next available opportunity. Of course, this concept will seem very familiar to modern viewers who have lived with the television program Cops on the air for most of their lives. However, the difference with Wiseman's film is that he does not have any sort of obligation to paint the police officers in a favorable light. Wiseman's approach is actually fairly balanced. We do get an understanding of the dangers the officers face and the myriad of surprises that can occur on a given day. However, we also get a glimpse of situations where policemen appear to overstep their authority and act needlessly antagonistically, such as the scene pictured above where an officer finds a concealed weapon on a suspect and then holds it to the man's head. Whereas the episodes on Cops are usually wrapped up neatly, Wiseman offers no such security. Racial tensions erupt as a young man claims to have been wrongfully arrested, a little girl is lost and can't find her parents, an auto accident victim fears for her safety while others around reassure her. Wiseman leaves us unsure of the outcomes. His camera witnesses the interaction between police and the public; however, it is up to us to determine whether the officers are acting to protect peace or abusing their authority.

[Lasse]

Kira's Reason: A Love Story

Thanks for reminding me about this film. Have had the dvd for months, but forgot to watch it. It got terriffic reviews here, and I think it's a film that I'll love.

Ole Christian Madsen's film Prague (http://www.imdb.com/title/tt0855975/) is supposedly great as well, and features Stine Stengade again, and Mads Mikkelsen if that isn't enough to convince you.

[Spinal]

http://img.photobucket.com/albums/v696/joel_harmon/IHH_07.jpg

It Happened Here

Director: Kevin Brownlow and Andrew Mollo
Year: 1965

Available from Netflix?: Yes

This speculative drama shows us a slightly alternate universe in which the Nazis were successful in occupying London during World War II. The English populace is now divided between those who have decided to accept the German presence and those who continue to resist. The film follows one middle-aged English nurse who claims to not care a lick about politics and who just wants to get back to some sense of normalcy. She accepts a position within the new National Socialist state and soon finds herself exceedingly uncomfortable with the rhetoric and behavior of her new colleagues.

Though it sounds like sort of a sister film to Peter Watkins' The War Game, Brownlow and Mollo's tale unfolds more like a feverish, paranoid nightmare. Indeed, it is less pseudo-documentary than it is reminiscent of Invasion of the Body Snatchers or an episode of The Twilight Zone. Though the central character wants nothing more than stability and neutrality, she eventuality comes to realize that her inaction makes her complicit to cruelty and injustice. As one character notes, "the appalling thing about fascism is that you've got to use fascist methods to get rid of it." It Happened Here has the look and feel of a low-budget film, but it is effective at asking the viewer to imagine fascism from the inside out, an unsettling and saddening perspective.

[Philosophe_rouge]

Sounds great, I'll definetely give it a go.