28 Film Discussion Threads Later

[Qrazy]

Australian cinema is generally an embarrassment and makes me glad I'm Canadian-born.

I get the feeling you're joking given that Canadian cinema is also mostly balls overall.

[Grouchy]

Invasión
Hugo Santiago, 1969

SOME SPOILERS BELOW

Ever since I remember knowing about it, I've wanted to see this film. Co-written by the dynamic duo of Jorge Luis Borges and Adolfo Bioy Casares, it's the only one of their film scripts (they have three others) that came into production. It's a science-fiction film in style, even if it has no overt futuristic elements. In the fictional city of Aquilea (Buenos Aires), a group of characters, all friends, take part in the Resistance against an unseen force of Invaders. It's never clear if these Invaders are aliens, foreigners or simply criminals, and they're only represented by the trench-coated army pictured above. What is clear is that they will take over the city if they're not stopped, and in the last third of the film, the Resistance seems to accept that their defeat is inevitable and yet they continue fighting.

The fingerprints of Borges are all over the story. The accepted destiny, the theme of male friendship under fire and the archetype of the compadrito signal his involvement. Bioy Casares, as well, obviously created the character of the ladies man who can't resist a good-looking dame even when there's danger at bay. There is also an atmosphere reminiscent of El Eternauta, the masterpiece of Argentine comics released twelve years earlier. Like in that comic, the heroes of Invasión are common men with day jobs forced into action by the circumstances.

Unfortunately, the film is more fun to discuss and analyze than it is to watch at times. Santiago seems influenced by the French New Wave films which no doubt had arrived to Argentina with some delays, and so he cut his film with a strangeness that makes the story very confusing, particularly during the first half when we're trying to decypher exactly what are these conspirators doing. Sometimes his idyosincratic style works well, as in the deaths near the end of the film which are played for comic and poetic effect ("I was blind" are some of the most perfect last words I've seen), but sometimes it robs action scenes of their excitement as they become frankly difficult to follow. Santiago tries for many tones at once, part science-fiction epic, part action film, part surreal comedy, and only partly succeeds. It's all beautifully photographed, though, and the locations come from all over Buenos Aires and seem carefully chosen for each set piece.

Overall, Invasión is as strange a cult movie as they get. It has a milonga with lyrics composed by Jorge Luis Borges which is beautiful and appears many times throughout. It has scenes which make zero sense and which get unintentional laughs from modern audiences. It's one of the few "Borges films" which exist out there. Unusually for any audience, after the word "Fin" (The End) flashes on screen, the film continues for one more scene which implies a new generation of Resistance fighters. A TV documentary about the film was eventually made in 2008 which apparently features some fictional segments, but so far, none has attempted to pick up the story and do a straight-forward sequel.

[B-side]

What a dry Boner.

Definitely not conducive to his penetration into the mainstream.

[Dead & Messed Up]

Definitely not conducive to his penetration into the mainstream.

Yeah, I can't help thinking they'll see him coming.

[Raiders]

He's really just bitter after he auditioned for a role as a pianist in The Piano and was left hanging.

[Qrazy]

Wow, I never realized how indebted to Spike Lee David Simon is. The Wire is like an elaborated and refined version of Clockers. Hell, Wee-Bey is even in there in a bit part.

Although probably Price's novel was the larger reference point but still, lots of overlap between the film and TV show showing the ins and outs of the job.

On another note I didn't realize how often Lee used his floaty person camera technique... Clockers, Crooklyn, Inside Man, 25th Hour... probably more I'm not thinking of.

[Winston*]

Richard Price was a writer on The Wire.

On another note I didn't realize how often Lee used his floaty person camera technique... Clockers, Crooklyn, Inside Man, 25th Hour... probably more I'm not thinking of.

Malcolm X

[Izzy Black]

Best used in Malcolm X, imo.

[Qrazy]

Richard Price was a writer on The Wire.

Makes sense. Looks like he did most of his writing for seasons 3 and 4. My two favorite seasons, good stuff.

[Qrazy]

Best used in Malcolm X, imo.

The upside down glue sniffer use in Crooklyn was a nice riff on it.

[Winston*]

Makes sense. Looks like he did most of his writing for seasons 3 and 4. My two favorite seasons, good stuff.

Had read the novel Clockers before The Wire and noticed several cross over moments. Herc asking a kid where to get sideways hats, and Herc, Carver and their dates meeting a group of the dealers they're monitoring in a movie theatre lobby are directly from the book.

[Grouchy]

Speaking of Spike, how's Mo' Better Blues?

I'm planning to do a month of jazz movies for Ramona Reyes and that's a candidate.

[Izzy Black]

I'm a big fan of Mo' Better Blues. It's one of my favorites from Lee. It helps to like that genre/era of music.

[baby doll]

Speaking of Spike, how's Mo' Better Blues?

I'm planning to do a month of jazz movies for Ramona Reyes and that's a candidate.

I don't think it's one of his best movies (I get the feeling that Lee wanted to make a film that wouldn't arouse any controversy after Do the Right Thing), but it has its moments.

[MadMan]

I forgot to mention I saw Manhattan recently. I'm trying to decide if it or Annie Hall is Woody Allen's best film (out of the ones I've viewed, mind you) but I think I'll just stick with Crimes and Misdemeanors as my answer for now. Review forth coming, whenever I get around to it (only reviewing horror movies really at this point).

[Winston*]

Searching for Sugar Man is an excellent documentary fyi. Would recommend not seeing the trailer before seeing the movie.

[Adam]

[youtube]Cu9-UymSApM[/youtube]

[Bosco B Thug]

The Ruling Class (Medak, 1972) *½

Yes it's mostly irritating, but still, sad. :sad:

[Qrazy]

Yeah I remember some people on Match-cut talking up The Ruling Class back in the day, very disappointing. The Changeling is still awesome though and A Day in the Death of Joe Egg is alright.

[Bosco B Thug]

Yeah I remember some people on Match-cut talking up The Ruling Class back in the day, very disappointing. The Changeling is still awesome though and A Day in the Death of Joe Egg is alright.

Hmm, I'll take The Ruling Class and its wild ambition over The Changeling, which doesn't strike me as much more than solid. I've seen his early feature Negatives, which is solid artsiness, probably of similar offerings as 'Joe Egg' which I haven't seen.

I feel like he became a fairly polished (and still idiosyncratic) filmmaker in the 90s, even though I've only started Romeo is Bleeding.

[Watashi]

Just saw a double feature of Star Trek II and The Thing on the big screen in glorious 35mm.

It was an awesome night.

[Dukefrukem]

Can we have the "favorite movie" versus "rated movie" discussion again? I know there are some people here who feel they are one and the same. I've always placed movies into two different categories. Movies that I could consider a guilty pleasure, but would not necessarily rate them high, and movies that I consider tremendous accomplishments. This is reflected in my grade.

Citizens Kane vs Army of Darkness is an exaggerated example. I could watch Army of Darkness any day of the week. It's just a movie I find tremendously entertaining , quote worthy and I feel more comfortable watching it over CK. But I would never rate it higher than CK. Can someone here argue that I should?

[Irish]

I don't feel it's zero sum. Kane's excellence doesn't detract from Army's merits.

[baby doll]

Can we have the "favorite movie" versus "rated movie" discussion again? I know there are some people here who feel they are one and the same. I've always placed movies into two different categories. Movies that I could consider a guilty pleasure, but would not necessarily rate them high, and movies that I consider tremendous accomplishments. This is reflected in my grade.

Citizens Kane vs Army of Darkness is an exaggerated example. I could watch Army of Darkness any day of the week. It's just a movie I find tremendously entertaining , quote worthy and I feel more comfortable watching it over CK. But I would never rate it higher than CK. Can someone here argue that I should?

First of all, the favorite/best distinction always struck me as being a pussy move, like you don't have the balls to own your opinions when they run counter to the consensus.

Second, evaluation is subjective. Therefore, I don't give a shit about anybody's evaluations but mine. I think Citizen Kane is a fun movie; I've seen it innumerable times, and I can't wait to see it again. But that's my opinion and opinions are boring. I'm more interested in analysis.

Third, one reason I was glad when Citizen Kane fell to second place in the Sight & Sound poll is that I thought I wouldn't have to hear motherfuckers indirectly talking shit about it any more ("I know it's a great accomplishment, but I happen to like [movie X] better"). I guess I was wrong.

Fourth, approaching film history as a series of firsts (the first close-up, the first example of parallel action, etc.) or greatest accomplishments (best deep focus) is a bullshit approach.

[baby doll]

I don't feel it's zero sum. Kane's excellence doesn't detract from Army's merits.

Word.