Another classic from the musings of Whit Stillman, Barcelona delivers thought-provoking messages and insights through dialogue without being downright preachy (Kevin Smith) or whiny (Woody Allen). Though I do not have anything against the latter two, I prefer the tone that Mr. Stillman sets in his films. His characters share their observations in a casual, laid-back way, the way something might be said in real life. Stillman's approach in his films is generally that of lightweight comedy with somewhat serious undertones. Because of his well-planned method in delivery, Barcelona is one of the better talkative Nineties movies. Highly recommended for its very witty yet realistic dialogue and great characters, not to mention the lovable actors.
Reviews
8 Reviews
2001: A Space Odyssey
(1968)
A Classic Solely In Its Unbridled Artistry
23 April 2000
2001: A Space Odyssey is probably the most triumphant film ever made. It also happens to be the late Stanley Kubrick's masterpiece. This, of course, means that all action lies within a beautifully timed synchrony, that nearly every frame is perfectly symmetrical, and that the final product will near (or achieve) perfection. In a Kubrick movie, acting, plot, and dialogue all lie subservient to the much more dominant image on the screen. The methodical flow of all of his films is so consistent that one lies identical to the next. 2001 is inarguably the best of them.
2001 is a rare experience where the director created an Ozu-like time of his own. Those that allow themselves to be swallowed by the artistry of the movie do not feel the actual length of it. The sets and special effects are fantastic, even for today, and it comes off more realistically than any modern computer-generated effects. The story is cleanly delivered, and it is in itself very original.
It is the rare case that a film can be defended by such a lazy dodge as the one I am about to employ. There is always a minority of people that do not like a film, and the attack usually made by the blind defenders of it is that those that did not like it simply do not understand it'. In all actuality, this is never the case, but in this film, the only argument made against it is that the film is not understandable. Respectful critics of the era blasted Kubrick for his lack of communication with the audience. (I myself read the Arthur C. Clarke novel some years before settling down to the movie.) Even today, as people are slowly killing the messy and often inferior Eyes Wide Shut, most attacks are based on a hidden frustration with the film's lack of clarity. Kubrick fans themselves were, for the most part, disappointed that the film set itself up as no more than a thriller. 2001 deals with something on a much grander scale, and, unlike Eyes Wide Shut, it elevates itself as something Far above the genre it is borne into.
2001 is a rare experience where the director created an Ozu-like time of his own. Those that allow themselves to be swallowed by the artistry of the movie do not feel the actual length of it. The sets and special effects are fantastic, even for today, and it comes off more realistically than any modern computer-generated effects. The story is cleanly delivered, and it is in itself very original.
It is the rare case that a film can be defended by such a lazy dodge as the one I am about to employ. There is always a minority of people that do not like a film, and the attack usually made by the blind defenders of it is that those that did not like it simply do not understand it'. In all actuality, this is never the case, but in this film, the only argument made against it is that the film is not understandable. Respectful critics of the era blasted Kubrick for his lack of communication with the audience. (I myself read the Arthur C. Clarke novel some years before settling down to the movie.) Even today, as people are slowly killing the messy and often inferior Eyes Wide Shut, most attacks are based on a hidden frustration with the film's lack of clarity. Kubrick fans themselves were, for the most part, disappointed that the film set itself up as no more than a thriller. 2001 deals with something on a much grander scale, and, unlike Eyes Wide Shut, it elevates itself as something Far above the genre it is borne into.
The Bad and the Beautiful
(1952)
A Real Classic
23 April 2000
What possessed Vincente Minnelli to direct this scathing look at the Hollywood system when he himself seemed so comfortable in it? Whatever the answer to that may be, this turned out to be the first of many critical views of the previously-magical movie-town. The story follows Kirk Douglas as a producer that methodically steps on people to get to the top. These were the days where the producer was on top, and the director was a mere underling. The plot takes a Kane-style turn, as the producer brings about his own downfall via his notorious image.
The script is classic and often-quotable. There are several great scenes, esp. those that show collaboration between producer and director. The lighting is great too, with softer lights depicting the false glamour of it all as it bitterly contrasts with the action. A very good rent.
The script is classic and often-quotable. There are several great scenes, esp. those that show collaboration between producer and director. The lighting is great too, with softer lights depicting the false glamour of it all as it bitterly contrasts with the action. A very good rent.
An American in Paris
(1951)
Very Charming, Colorful MGM Magic
23 April 2000
It has an excellent, old-fashioned premise, with a slight twist which lands Gene Kelly as a starving artist in Paris. As in many of Kelly's musicals, Kelly wins over a girl through his charming arrogance, running into eventual complications (in this case, the girl's marriage and his patron's feelings for him that go beyond his paintings). The movie is all fun, with spontaneous dancing and singing that makes itself a grand old time at the movies. Some of my favorite scenes are in this film, including `I Got Rhythm' and `Tra-la-la', and yet there are still some minor elements that bother me watching it.
The movie does fall apart in the last two scenes: it never really ends completely. The `American in Paris' number at the end does sum up the whole movie and does look at the character's dilemma over losing the girl to her fiancé, but it was a bit too nightmarish and too strange for an otherwise lightweight movie (very Carousel). The other surreal interruptions I did enjoy, such as the one where the pianist sees himself playing all of the instruments in the orchestra, but this one comes too little and too late. The bittersweet happy ending which follows it is also very tacked-on'.
The movie does fall apart in the last two scenes: it never really ends completely. The `American in Paris' number at the end does sum up the whole movie and does look at the character's dilemma over losing the girl to her fiancé, but it was a bit too nightmarish and too strange for an otherwise lightweight movie (very Carousel). The other surreal interruptions I did enjoy, such as the one where the pianist sees himself playing all of the instruments in the orchestra, but this one comes too little and too late. The bittersweet happy ending which follows it is also very tacked-on'.
Visions of Light
(1992)
Good and Insightful
6 January 2000
I enjoyed watching this documentary on Cinematography, and yet it still pales in comparison to A Personal Journey With Martin Scorsese Through American Movies. I was spoiled, I think, with Marty Scorsese's documentary, as in its three cassettes it is the truly definitive documentary on film. Visions of Light is worth a purchase, though it was not as complete and definitive as I would have liked it to be.
Koyaanisqatsi
(1982)
New Use of the word "eerily hypnotic"
6 January 2000
This is one of those films that amazes with every cut. The fact that it never ceases to entertain is something that truly frightens me. The beautiful images keep on coming, and I think the combination of Philip Glass and the on-screen images puts people in another state of mind. I wouldn't be surprised if someone found out that the film causes seizures in children because...wow.
Century of Cinema: A Personal Journey with Martin Scorsese Through American Movies
(1995)
One of the greatest documentaries on cinema today
Season 1, Episode 6
8 November 1999
It comes on three tapes, but I could not help watching the whole thing through. Cinematic genius Scorsese shamelessly shares his love of the movies with the viewer. One of the best things about it is that it's just you, him, and a black backdrop, sort of like what Charlie Rose must have seen when he interviewed him. Yes, you will 'know' Scorsese after this. The documentary is so personal that you will feel as though the films spoken of had been recommended by a friend.
The Manchurian Candidate
(1962)
Great Political Thriller with a Hitchcockian ending
5 November 1999
Watching this film, you know you're in for something special when a group of captured men are demonstrating to a group of communist leaders and to a ladies' garden club the effects of brainwashing. The men are led to believe, that is, that they are sitting in front of a group of women that talk as if they were reading from the back of a seed packet. In all actuality, thay are being introduced to a surgery room filled with various delegates as part of a massive plan to take over the US.
In this dream sequence, the shots keep intercutting to different combinations--the Chinese man speaking in front of the communists, the Chinese man speaking in front of a group of ladies, the lady speaking in front of ladies, the lady speaking in front of communists... (Best Editing Oscar was lost to "How the West Was Won.")
This movie still delivers. The paranoia is very high; so high that every character introduced is suspected in the back of your mind. The acting was good, too. Angela Lansbury delivered an Oscar-nominated performance as a very manipulative mother. Smart script, good jobs all around. Relatively timeless, but it must have been a great thing to watch during the era.
In this dream sequence, the shots keep intercutting to different combinations--the Chinese man speaking in front of the communists, the Chinese man speaking in front of a group of ladies, the lady speaking in front of ladies, the lady speaking in front of communists... (Best Editing Oscar was lost to "How the West Was Won.")
This movie still delivers. The paranoia is very high; so high that every character introduced is suspected in the back of your mind. The acting was good, too. Angela Lansbury delivered an Oscar-nominated performance as a very manipulative mother. Smart script, good jobs all around. Relatively timeless, but it must have been a great thing to watch during the era.
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