28 Film Discussion Threads Later

[Rowland]

Still need to see the 2 1/2 hour 2010 restoration.

It's amazing. I would like to give the Moroder cut of the film a look however, I think it's available on Netflix Instant.

[Grouchy]

I own that Moroder version of Metropolis in VHS! It was indeed awesome. I wish he'd expand the soundtrack for the additional footage that was found here.

[B-side]

Been meaning to see that one forever, especially since loving her criminally underseen Two-Legged Horse. What have you seen from her dad?

Gabbeh as of the time that was written, and The Cyclist now. My original sentiment stands.

[B-side]

A few quick reviews I recently wrote but neglected to post here:

Deeply influenced by the work of Sergei Parajanov, Gabbeh is high fantasy steeped in subversive politics. Like his predecessor, Makhmalbaf buries his political ideology in fantastical mythology and colorful semiotics. The term "gabbeh" refers to a rug crafted by the women of Southwestern Iranian tribes. In many ways, it seems it was the medium in which many women expressed their artistic visions. The titular gabbeh serves as the fabric upon which Makhmalbaf weaves his story of authoritative paternal figures and the onerous yet joyous burden of tradition. Gabbeh is also the name of the beautiful young female who springs to life from the old rug of an elderly married couple who open the film with playful bickering over who should wash it. Depicted on the rug are two small figures; a man and woman on a horse. She relates the tale of how her father, who howls like a wolf from distant cliffs, consistently pushes her individuality (read: marriage) into the future by coming up with arbitrary reasons for her to have to wait. She interacts with the story she's telling as if it's occurring simultaneously, and the elderly husband grows fond of her. He begins to blame her for his unhappiness because she won't marry him. This burdensome guilt-tripping makes this elderly man a closer, more tangible surrogate of her father, who is entirely elusive in her story. Makhmalbaf infuses humor throughout, and is playful in his form, though this can hardly be said to carry the fluidity or visual acuity of Parajanov's superior cinematic work. This comparison isn't very fair, but it makes sense given what's being dealt with. And though the Makhmalbaf isn't as good, it's certainly good enough in its own right.

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Children of Hiroshima is likely more important as piece of history than as cinema, dealing as it does with the immediate and long term aftermath of the Hiroshima bombing, not 8 years after the fact. Dispensing with all subtlety almost immediately, Shindô lays on the tragic milieu so thick its syrupy contrivances numb rather than breed vicarious emotionality for much of its running time. Everyone is dead, dying or deformed, and it's Shindô is sure to explain why in every single instance. As the gentle protagonist wanders through her hometown in search of another staged dramatic bubble, what keeps the film from dying from necrotic melodrama is Shindô obvious technical artistry and my inability to keep critical my intrinsically sympathetic mind. Eventually, I began to give in. I started letting its full head of propagandistic steam carry me along. What's clear is that Shindô is an obviously talented artist, and given some better material to work with, and perhaps a few more years behind the lens, he's more than capable of churning out some brilliant work.

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Echoes of Sergei Eisenstein, and a definite predecessor to the work of Rocha's fellow South American, Alejandro Jodorowsky, Black God, White Devil is political guerrilla warfare in the wake of "New Professionalism", a phrase Alfred Stepan coined to define the shifting role of the military in the politics of countries like Brazil and Peru. They were to focus more on the welfare of the people rather than be the might of the ruling government to use against its people. In the years preceding 1964, the year this film was released, there was growing fear of a leftist revolution, and with the assistance of the US (perhaps encompassing the "White Devil" part of the title along with the character of Corisco), the military began to co-opt the will of the people and retain the power of the corrupt elite. This is likely symbolized in the film by the Antonio das Mortes character who is hired by the heads of the church and on behalf of a land owner murdered by an enraged peasant "cowherd" to kill the latter. Though I quickly researched some Brazilian history to squeeze in some context for this review, I can't and won't claim to have a firm grasp on its politics. It's not a terribly easy film to read, and the religious aspect, though at the forefront of the film, is equally ambiguous in its mounting. There seems to be a standard two-sided dichotomy, but Rocha doesn't appear to throw all of his weight behind the peasants, and certainly not their religious zealotry. It's a chaotic production, and the religious proceedings often devolve into a cacophony of screams, gun shots and loud chanting. There's hope and redemption in faith, though it's exploited and twisted for individual initiative. I began to get a bit sleepy in the second half, drifting in and out of interest as my foothold in any concrete narrative or thematic givings was loosened and I began to scan the screen and my scattered brain for something to hold onto. It's a rough, unpolished, but very ambitious film, and it may be a slippery one, but it's also a fairly impressive one.

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Being so clearly a connoisseur of Iranian cinema, I'm convinced Iran has some of the best cinematographers; a talent for positioning a camera and composing a frame only likely matched by the Soviets. Then again, maybe Iran is just that photogenic. The Cyclist doesn't really take advantage of the types of narrow concrete alleys offset by bursts of vibrant color that is often the hallmark of the best Iranian aesthetics. Instead, the visual acuity here is accomplished with a Ruiz-esque use of focal staging and a mobile and swirling camera. Makhmalbaf, like Ruiz, had his creativity bolstered by limited budgets. The Cyclist is a drab film -- in the traditional visual sense -- in which a poor man with an ailing wife is recruited by a circus owner to ride a bike for seven days straight to pay for her medical care. Such an absurd, self-defeating act draws huge crowds to stare and cheer on the sympathetic man triumph over impossible odds. Outside players take opposing sides betting on the outcome; each sending their own ambulance to help -- and hinder -- him through his ride. Political intrigue trickles in and the man is arbitrarily accused of being a spy during an Afghanistan-Iran conflict. Spectators project their prophetic hopes and dreams on the former cycling champion. His crazy act becomes a spark in a tinderbox of poverty and political unrest; drawing attention both positive and affirming and negative and criminal. A wholly decent film, but not much more. Kiarostami's Close-Up, inspired by this film, is much better.

[Derek]

Gabbeh as of the time that was written, and The Cyclist now. My original sentiment stands.

Check out The Silence, especially if you're looking for amazing cinematography.

Echoes of Sergei Eisenstein, and a definite predecessor to the work of Rocha's fellow South American, Alejandro Jodorowsky, Black God, White Devil is political guerrilla warfare in the wake of "New Professionalism", a phrase Alfred Stepan coined to define the shifting role of the military in the politics of countries like Brazil and Peru. They were to focus more on the welfare of the people rather than be the might of the ruling government to use against its people. In the years preceding 1964, the year this film was released, there was growing fear of a leftist revolution, and with the assistance of the US (perhaps encompassing the "White Devil" part of the title along with the character of Corisco), the military began to co-opt the will of the people and retain the power of the corrupt elite. This is likely symbolized in the film by the Antonio das Mortes character who is hired by the heads of the church and on behalf of a land owner murdered by an enraged peasant "cowherd" to kill the latter. Though I quickly researched some Brazilian history to squeeze in some context for this review, I can't and won't claim to have a firm grasp on its politics. It's not a terribly easy film to read, and the religious aspect, though at the forefront of the film, is equally ambiguous in its mounting. There seems to be a standard two-sided dichotomy, but Rocha doesn't appear to throw all of his weight behind the peasants, and certainly not their religious zealotry. It's a chaotic production, and the religious proceedings often devolve into a cacophony of screams, gun shots and loud chanting. There's hope and redemption in faith, though it's exploited and twisted for individual initiative. I began to get a bit sleepy in the second half, drifting in and out of interest as my foothold in any concrete narrative or thematic givings was loosened and I began to scan the screen and my scattered brain for something to hold onto. It's a rough, unpolished, but very ambitious film, and it may be a slippery one, but it's also a fairly impressive one.

Nice write-up. I've long been interested in this one, but it's always seemed so intimidating, plus boner's lukewarmness towards it didn't help. Gonna have to bump this up on the priority list.

Being so clearly a connoisseur of Iranian cinema

:lol:

[B-side]

Check out The Silence, especially if you're looking for amazing cinematography.

That'll probably be my next from him, but I think I'll probably explore more of his family's work first.

Nice write-up. I've long been interested in this one, but it's always seemed so intimidating, plus boner's lukewarmness towards it didn't help. Gonna have to bump this up on the priority list.

Thanks. It's a cool film. Got that raw, unprocessed quality that can be super appealing. It's a little long, even at just under two hours. At least it feels long. Maybe you'll have a better understanding of its politics. I'm still a little perplexed.

:lol:

:P

[Li Lili]

I saw those Mohsen and Samira Makhmalbaf films about almost 10 years ago, I need to rewatch them. However, I recently rewatched the film directed by his wife, Marziyeh Meshkini, The day I became a Woman. Have you seen it ? It's divided into 3 parts, 3 tales about 3 different generations of women. I particularly liked the second - the bicycle race.
Concerning Glauber Rocha, I remember seeing his films during a retrospective of his films at a film festival (again years ago), Black God, White Devil and Antonio das Mortes are the most accessible and his best ones I found.

[StanleyK]

Derek & B-Side, have you guys watched Anselmo Duarte's The Given Word? That shit is dope and much superior to Black God White Devil.

[Lucky]

The Days of Wine and Roses was surprisingly dark. I didn't think Lemmon had a performance like this in him. Really impressed by it, glad the studio didn't mess with the ending.

[B-side]

I saw those Mohsen and Samira Makhmalbaf films about almost 10 years ago, I need to rewatch them. However, I recently rewatched the film directed by his wife, Marziyeh Meshkini, The day I became a Woman. Have you seen it ? It's divided into 3 parts, 3 tales about 3 different generations of women. I particularly liked the second - the bicycle race.
Concerning Glauber Rocha, I remember seeing his films during a retrospective of his films at a film festival (again years ago), Black God, White Devil and Antonio das Mortes are the most accessible and his best ones I found.

The Day I Became a Woman was one I planned to prioritize.

[B-side]

Derek & B-Side, have you guys watched Anselmo Duarte's The Given Word? That shit is dope and much superior to Black God White Devil.

I have not, but I have it bookmarked on KG.

[Derek]

I have not, but I have it bookmarked on KG.

Ditto. That has one of the greatest progression of screen shots I've ever seen on KG:

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Show Spoiler

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I'm expecting the greatest film ever after that!

[B-side]

They seem like perfectly reasonable people.

[soitgoes...]

It's pretty fucking good.

[B-side]

Did you die?

[Derek]

Did you die?

So it goes.

[Rowland]

I don't know how I acquired this perception, but I went into both Pickpocket and The Passion of Joan of Arc anticipating strict formal asceticism, so I was pleasantly surprised to discover how dazzling they both are in their own very distinct ways as rich exercises in cinematic technique, in addition to their many other formidable attributes. I expected academic airlessness, and instead I was invigorated. Tubular.

[Kurosawa Fan]

Watched Winchester '73 today. Had a bit of a hard time with this one. I've come to a point where I can't ignore the portrayal of American Indians as brutal savages for the sake of entertainment. I just can't write it off as a product of the times and sit back and enjoy the show. The film spends a solid 20-25 minutes doing just that, and it really killed what was otherwise a tense experience for me. I'm a big fan of Jimmy Stewart, and he was as good as usual here. Loved how the Winchester brought out the worst in everyone, Stewart included, and how it symbolized the dangers of a civilization ruled by the gun and the power that a gun seems to grant. Still a prevalent theme today, unfortunately. Loved Mann's direction. He framed some beautiful shots, and the night scenes were particularly beautiful. Shame about the treatment of the Sioux, though. I'd love to hold this film in a higher regard.

[Raiders]

The film does in fact take place during the Great Sioux War where skirmishes were certainly not uncommon and Young Bull in this film is clearly inspired and his rage invigorated by Crazy Horse's victory. He himself is a victim to the gun.

I dunno. I don't think it is particularly egregious.

[Kurosawa Fan]

The film does in fact take place during the Great Sioux War where skirmishes were certainly not uncommon and Young Bull in this film is clearly inspired and his rage invigorated by Crazy Horse's victory. He himself is a victim to the gun.

I dunno. I don't think it is particularly egregious.

They are given no treatment outside of blood-thirsty savage. Young Bull does nothing beyond kill white men and lead raids. He kills the man who is helping arm his tribe without a moment's thought. He and the rest of his tribe are put on the same level as Waco Johnny Dean and Dutch Henry, nothing more than ruthless villains. Indians weren't necessary to the plot. They brought Indians into the narrative because they were an easy villain to root against at the time. Maybe it's not egregious, just dishonest and frustrating.

[dreamdead]

Rewatched the Coen's The Hudsucker Proxy yesterday. It's probably about 10 minutes too long, but that dream sequence, the hula hoop sequence, and Jennifer Jason Leigh's sexy Hepburnisms are such fun. The Coens' just understand rhythm, and their appreciation of the screwball tropes just resonates. Even the silliness of the Magical Negro works.

You know... for kids.

[dreamdead]

Jarmusch's Stranger than Paradise is usually not the type of film that I vibe with (typically prefer a bit more loquaciousness), but the starkness of the dialogue and framing utterly worked. It conveyed every bit of its characters, and that ending... so good. A delight, but moreover, totally unexpected that it'd resonate this well.

[B-side]

I've started a Tumblr to feature shots from films that utilize multiple frames, like a window or doorway, inside of the larger frame of the camera. See the "frames within frames" link in my sig for examples, and submit some high quality examples of your own.

[transmogrifier]

I don't know how I acquired this perception, but I went into both Pickpocket and The Passion of Joan of Arc anticipating strict formal asceticism, so I was pleasantly surprised to discover how dazzling they both are in their own very distinct ways as rich exercises in cinematic technique, in addition to their many other formidable attributes. I expected academic airlessness, and instead I was invigorated. Tubular.

I don't know how I got the idea, but I watched.......expecting a rejection of basic human pleasures.....I expected an emphasis on intellectual concerns, and instead it was awesome. Great.

[transmogrifier]

The above post may or may not have been sparked by my recent class where I emphasized the importance of writing according to the audience. And drunkenness. :lol: