Around the World

[MadMan]

Sorry folks, this thread has little to do with Daft Punk, heh. Rather, this is partly my way of finally giving Stay Puft his In The Mood for Love write up that is years overdue. But also, its a realization that when it comes to foreign movies I'm woefully behind. So I think I'll try and watch more of them in the next couple of months, and pen write ups for them. TCM and Netflix will be the source of most of them, although my public library has a fairly decent collection for being a public library in a small Iowa city.

[MadMan]

In The Mood for Love (2000, Wong)

http://www.filmschoolrejects.com/images/In-the-Mood-For-Love.jpg

A second viewing has revealed to me more about this movie than my previous first viewing really could. For example, the subtitle nuances and quiet dignity that this movie possesses is more noticeable, as is the character's motives and pained obligations. Despite featuring two characters in love with one another, it’s clear that this is not a love story, as it’s been rather aptly called "An anti-romance," which is rather spot on. Yet whether or not Chow or Su find happiness is irrelevant, but instead their journey is one of discovering what might be missing in their lives. How this journey concludes is something I would only discuss using spoiler tags, for I wouldn't dare reveal the ending of a movie, especially one as great as In The Mood for Love.

Underlined by a score that is simplistic yet haunting and rather poetic are the film's lush, stunning visuals. The movie is incredibly well shot to perfection, and thus in many scenes dialogue is not even necessary to understand what is going on. Kar Wai Wong seems to trust his actors enough to just sit back and let them act with their expressions, as they bare their emotions in ways that most American actors have forgotten how to do. This type of acting is far harder than using hand gestures or hamming it up with words, and rejects passive or lazy methods of performing.

A simple wisp of cigarette smoke, or the way a person walks is enough to give the viewer a window into what they are thinking. Half of the movie seems to be straight out of film noir or French New Wave, the other half grounded in stark and cold reality. The fact that Wong merges different, distinct styles into one collective unit is a testament to his skill as a director.

Now the ending is brilliant, and rather heartbreaking, and therefore rejects convention. The final shot gives some closure, although there is a sequel to this movie (2046, which I have yet to see), so its really just an ending that is also a beginning. The fact that they could not be together is not just due to missed signals or not running into each other at the right times. But from the moment they discovered their spouses were cheating on each other and they resolved to "Not be like them," their fates were set. Chow was more obsessed with Su than she was with him, even though the movie hints at them having shared more than just another night together. Its fascinating that Su apparently stays with her husband, while Chow leaves his wife, thus implying that he has committment issues. Sometimes, what seems to be a perfect union is perhaps not meant to be. Simple, obvious, but fueled by my reading of the movie.

So far I have not listened to the director's commentary that is on the Criterion edition. However, while looking on Wikipedia.org I found Wong's comment that In The Mood for Love is supposed to be similar to Vertigo to be quite interesting. In terms of color schemes I can see it, but I'm not sure that the two movies have much else in common.

[Stay Puft]

I'm ashamed to admit I've never seen Vertigo.

I wasn't aware of Wong's comments in that regard, either, but I also haven't listened to the commentary track (I own the Mongrel Media DVD which is only available in Canada, I think, and has no commentary tracks).

Before 2046, I'd recommend maybe going back and watching some of his earlier work, particularly Days of Being Wild, as that one forms part of an informal trilogy with ITMFL and 2046.

Anyways, glad you enjoyed the film, though I'm a bit speechless here as I can't believe you've actually delivered a review after all of these years. I don't even know how many years it's been. :lol:

[MadMan]

I'm ashamed to admit I've never seen Vertigo.Well there are many famous foreign movies I've never seen, so I think its even. Regardless, Vertigo is excellent-I think you would dig it alot.


I wasn't aware of Wong's comments in that regard, either, but I also haven't listened to the commentary track (I own the Mongrel Media DVD which is only available in Canada, I think, and has no commentary tracks).Well I was just quoting Wikipedia. The only version I've seen is the Criterion copy, which is excellent and which I got from my local library. CR Public Library has a lot of Criterions for being a small city library in Iowa.


Before 2046, I'd recommend maybe going back and watching some of his earlier work, particularly Days of Being Wild, as that one forms part of an informal trilogy with ITMFL and 2046.I have Chuking Express on my Netflix queue right now. After that, I'll check out Days of Being Wild and Fallen Angels.


Anyways, glad you enjoyed the film, though I'm a bit speechless here as I can't believe you've actually delivered a review after all of these years. I don't even know how many years it's been. :lol:Heh, the film swap for this was way back when the FDT was still on RT. So yeah, a loooong time. I recall randomly picking The Cowboys for you to watch, and I don't think you liked it but that's okay. I'm a diehard John Wayne fan, but its not even one of his best movies. I just had seen it at the time and it was the first thing that popped into my head. I didn't have Netflix back then, so when I found it in my public library I thought "Yatzee."

[Spinal]

Rep for a review three years in the making! :)

[MadMan]

Thanks guys, although I feel as if I'm whoring for rep. Of course I'll take all I can get ;)

For some strange reason, I was logged out and therefore the original copy of my next review was lost forever. So, I improvised.

Seven Samurai(1954, Kurosawa)

http://wildgrounds.com/img/news/photo-7samurai.jpg

Its been quite some time since I last viewed this movie, so bear with me. Kurosawa is one of the handful of directors who can create a masterful scene set in the rain. I have unfortunately only seen three Kurosawa movies, but each of them range from near great (Yojimbo) to masterpiece (Seven Samurai), with the greatness that is Hidden Fortress lying in between. Not only sporting an expert cast, but also properly utilizing many of the techinques that he was famous for, Seven Samurai is a war epic that properly condemns war while being an excellent action film.

At the time, the concept of a band of warriors brought together to defend and save a village threatened by bandits was not as cliche as it is today. Using this basic construct, Kurosawa skillfully condemns war, and even has the samurai asking themselves what seperates them from the mindless horde they are fighting against. Each of the members of the group have distinctive traits, with each bringing both strengths and weaknesses to the table. One of the more interesting moments in the movie occurs when the youngest of the samurai actually dares to think of a life beyond fighting and wandering the countryside, large sword at his side.

Besides being an incredible stylistic choice, Kurosawa shoots the final battle sequence in the rain because of what it represents. Blood, sweat, tears for the fallen, and it only underlines the lasting carrage that happens. As the head samurai woefully notes, the villagers despite needing the samurai's help are the only winners here, and the final shot succeeds in being powerful despite not being particularly complex. A final note is that despite being completely Americanized, and thus a lesser film, the John Sturges version, titled The Magnificent Seven is still worth checking out, largely for its fantastic cast.

[MadMan]

Hmm I didn't mean to neglect this thread.

Le cercle rouge (1970, Melville)

http://www.citizenpoulpe.com/wp-content/uploads/2007/12/montand-volonte-delon.jpg


Despite having viewed two of his other movies, Le samouraï, and Le Doulos, I decided to discuss Melville's 1970 crime drama/gangster movie not only because I own it, but because its become a new favorite of mine. Despite being better than Le Doulos but not as good as Le samouraï, it is still a great film, made in a similar vein. Only instead of one man living by a strict code of honor, its three men from different backgrounds brought together by the common goal of a grand heist. Say what you what you will about the men, but the film makes it rather clear that not only this is the life they've chosen, but forces beyond their control and society having already decided their lives results in them having no choice but to break the law.

If the thought of thieves and murders have a code of honor which they obey, and that no one else understands sounds familiar, then perhaps you are already thinking of John Woo's movies in the 80s and 90s. In fact, Woo wrote an essay for the film's Criterion release, and after reading it I further understand the movie's themes, and the impact it and other Melville works have had on Woo's career. Just like Meville I've only viewed three of Woo's movies, but The Killer and Hard Boiled both bear the same stamp that Le samouraï, Le cercle rouge, and Le Doulos made on Woo's films. Although I think that Le Doulos is in some ways quite different from the other two Meville films. I wish I had more to go on concerning Melville, so this review could get an update in the next couple of years.

What's even more fascinating about Le cercle rouge, and why it takes its place among top tier crime movies, is how Melville lets us examine and judge his characters. We find them to be less than moral, and yet instead of the police they abide by their code of conduct. I wouldn't say that the police are portrayed in a negative light, but rather they are seen as the opposing force set against the band of anti-heroes. If Melvillle could be accused of backing a group with a murder, a burnt out ex-cop turning to crime, and a career thief, and perhaps even painting them as "Cool," then he suffers from the same charges that have been leveled at Woo as well. I don't think they are fair, really, especially considering how these types of movies turn out. The heist scene alone is perfect, combining suspense with a level of timing, yet its barely takes up most of the film and really doesn't have the same level of importance.

Oh and on a further note, I did like how Melville gave the cops pursuing the gang a face with the aging, old detective. Although by now something of a cliche, the dogged policeman endlessly chasing people is something that was still a tad fresh even in the early 1970s. Not sure we needed scenes of him at his home, though-I felt those were the weakest elements in the film.

Nope, instead the group's attempts to constantly avoid capture and to profit from their success usually is the more entertaining, and captivating, part of this film, although that's not true of all heist movies. Yet Melville's sad portrayal of destiny and an inability to escape one's fate in life makes the final act more film noir than gangster movie. Its a quality that he has in his crime films that make them more engaging and real than any average crime drama or movie about criminals. What a welcomed addition to my movie collection, and really a film that I think could be discussed a little bit more.

PS: I've noticed that I like to buy crime movies on Criterion a lot. The genre endlessly fascinates me, and many of the movies they have in the collection are ones I've never even heard of before. Although this review stems from a second viewing-I rented it from my local library before I ended up purchasing it at Barnes and Noble.