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L'amour l'après-midi (1972)
Highly Moralistic but Beautiful
They're not "contes moraux" (moral tales) for nothing! Although the ending I was not overly keen on and would have done differently, the vast majority of Rohmer's film is an absolute delight of sumptuosity and decadent self-reflection (by both narrator / protagonist and director). Paris in the early 70s, such beauty, such a different epoch, as if it had never existed at all. A harrowing contrast to the present. Just like our hero Frederic says when he looks at a young couple kissing passionately in front of him at a café, it's not that we ponder on what we were but rather, what we've become. Indeed. Highly recommended!
Vortice mortale (1993)
Great vibes, moody soundtrack - such a treat!
While certainly no cinematic chef d'oeuvre, VM is incredibly delicious -- a fog-covered, dimly-lit, erotically-charged work from one of my favorites, Ruggero Deodato. Deodato is an incredible (and incredibly underrated) director. The plot is silly, and there is plenty of cheese, but VM has aged well thanks to Deodato's skill in taking something straight out of Silk Stalkings and elevating it into an almost neo-giallo. Caroit is just right as the naive inspector, and that cast of ladies is juuuust right. VM is a mood film -- something you watch for pure escapism and to absorb the ambiance. It's style over substance here and that is perfectly fine. A sexy time capsule of aesethic pleasures.
Sorcerer (1977)
Perfection - a raw and subversive masterpiece
Sorcerer is raw - but it is the essence of that word: it presents us with an unfiltered, brutal view of the world. It is the world as it is intended to be seen, stripped of politics, class, norms and standards.
This "stripping" Friedkin conducts for the audience is linked to the subversive nature of this masterwork. We have 4 men who are anti- heroes in the strict sense and maybe something more - they are exemplars of the ultimate cynics of modern society, they are criminals and killers. And once their cynicism - or rather, rebellion - leads them on a path of negating any and all utility they might still retain in their worlds, they flee to a symbolic land, off the grid and beyond the radar of those norms and standards they have already rejected, we see them in a different light. Criminals and killers take another form.
The 4 pariahs in 'our' world (capitalist, Western, etc.) become 4 supermen in the 'other' world (the victim of that capitalist, Western world).
Hence, human nature as a concept is nullified yet also strangely edified and exalted for its uncompromising authenticity in remaining fluid.
Really spectacular piece of work with a perfect cast and soundtrack. Gritty yet majestic.
Le temps de mourir (1970)
Excellent experimental work
Anna Karina is a terrible actress but she doesn't grate on the nerves too much here. Cremer and Rochefort are enough to merit a viewing of TdM -- one as the potential-victim, the other as the potential- murderer -- they are perfect.
Although exploring a banal concept, the essence of the question TdM asks is relevant. And so, there are numerous interpretations of the ending and the overall proposition the film makes -- that the 3 characters (Karina / Cremer / Rochefort) are entangled in a perpetual, cyclical, re-occurring event: Cremer's murder at the hands of Rochfort and the circumstances leading into it.
A mysterious, foreboding tape has been brought to Cremer by an ethereal amnesiac riding in on horseback (Karina) - who feels she knows the men she meets although they,in turn, do not know her...at least consciously. Cremer has clearly forgotten making love to this strange woman in some parallel realm. An unpleasant corporate type (Rochefort) is shown shooting Cremer on this tape. So Cremer sends his goons to kidnap Rochefort and get to the bottom of things -- somehow. How could have Rochefort killed someone before he actually commits the act itself? Can a future event be predicted?! Oh, and there's a supposedly ultra-sophisticated sentient being (like the iPhone of the day, I suppose) which fails to rescue Cremer from the said predicament...or maybe it's not his predicament but only (wait for it)...his fate!?
Good fun, this dusty print. The cinematography and general aesthetic of TdM is velvety smooth and full of gilded tapestries, massive geometric paintings, and of course, some thinly veiled criticism of the bourgeoisie.
Indagine su un cittadino al di sopra di ogni sospetto (1970)
Italian Cinema at Its Peak!
The final scene in Elio Petri's 1970 Investigation of a Citizen Above Suspicion concludes with a quote from Kafka's The Trial: "Whatever he may seem to us, he is yet a servant of the Law; that is, he belongs to the Law and as such is set beyond human judgment." What Petri has left out from this excerpt is also that "to doubt his integrity is to doubt the Law itself". The "he" in question here is the man of the Law the police inspector played brilliantly, hair slicked back et al, by Gian Maria Volontè. Without any scruples, we see the Inspector coldly cut his mistress's throat with a razor between the sheets in a kinky role-playing romp, sans scruples, only to prove to himself if he is, as he believes, a citizen above suspicion and beyond the Law which he so firmly adheres to.
This complex film is a cinematic gem thanks to its multifarious tropes at times absurd black comedy, at times vitriolic political satire, at times psychological study into sexual fetishism and power. Of course, all of these themes intermingle so effortlessly that you can't help but be taken aback by the richness of Petri's byzantine vision. The left-leaning director here depicts the autocratic terror that overtook Italy in the late 60s, an overture to the tense, decade-long period known as the "years of lead" in Italian politics a time of fascist repression and a struggle between the equally-as-extreme left and right of center parties.
Beyond its political overtones (which are universal yet now paradoxically outdated, as we see rebellious students waving their little red Maoist books around to anger the "fascist pigs" in the police force), Investigation plays its strongest and most universal hand in its view of authority, and specifically, those that wield an ungodly amount of it. The Inspector, in a snug, black suit, commands and degrades his subordinates, yet in the way a responsible teacher would reprimand a naughty student. That is, he believes his own righteousness and position, and here, once he commits the murder of Augusta Terzi (the stunning Florinda Bolkan), he leaves the Law to spin its wheels of Justice, having full confidence in the organ of power that commands him. As the Inspector sits in the office of his boss, the Commissioner (a sleazy Gianni Santuccio), he trembles like a child, waiting for approval and acceptance. After the latter admits to having an affair with the murdered victim, the unperturbed Commissioner asks him amidst a smoke-filled smirk, holding a cigar in his fat fingers, "So, was she, you know? Any good?" Here we can make the link between power and sexual impotence, as the simple reason the Inspector kills his lover is because she has brought to light his personal inadequacies as a man. An individual who holds such dominance over others, who commands such authority, is an addictive aphrodisiac for Bolkan's underwear-hating heroine, but after a while, she sees her Inspector is nothing more than a capricious child obsessed and deceived with a position of power that holds no integrity and no truth. For her, his sexual appeal has vanished, the organ of dominance has grown limp, as the incongruity between the Inspector's projected image and his actual self begins to grow. She hates his little black socks, his dull black suit, and his overall bureaucratic appearance. In a few great satirical moments, we see the impressionable Inspector strolling the streets in a trendy new khaki suit, a purple silk ascot, fashionable sunglasses a caricature of Italian culture to the fullest.
So what prompts Volontè's Inspector to make his final decision? Is he a stern follower of the Law who wants to test it and prove himself superior to his inept colleagues; a sadistic neofascist bureaucrat who lives for control and subjugation of others; an infantile with a bruised ego thanks to an untamable feminine force? Are we, as viewers, not to question his actions, but simply to accept them as necessary because he's "a man of the Law", superior to us, despite his faults, as Kafka leads us to believe
or is that just Petri's tongue-in-cheek humor getting the best of us? That's the fun of this great film, and the kookiness of Ennio Morricone's twangy score adds to the comical effect of a dark and witty étude into power, sex, and politics.
Le professionnel (1981)
Ass-kicking and espionage...oh ya, and BELMONDO!
This is what action movies should be like...without pretension, without being overly philosophical...it's the raw simplicity and humor in "Le Professionnel" that make it oh-so-magnifique! Yes, Morricone's score is unforgettable. The characters...the heroes, antagonists...everything is so yummy and cozy. Belmondo exudes such irresistable charm that at the end I just hoped he'd RUN to the helicopter...but alas, this isnt a Hollywood production. Go Joss, woo! A definite must-see...and the car-chase was good, even in today's CGI standards. Oh, and the French ensemble cast is wonderful!
Yum, yum, yum...
Vor (1997)
Wonderful and tragic
"Vor" will undoubtedly become a classic of Russian cinema in a few years.
First, this was both written and directed by the great Russian filmmaker Pavel Chukhrai! It's a tender pseudo-autobiographical account of life during the last years in Stalinist USSR. An interesting theme in this movie is that of the "father-figure"...and Stalin as a "father-figure" to the Soviet Union. You don't necessarily have to be familiar with the political context of the film, but it definitely makes it all the more poignant and heart-breaking if you are.
Vladi Mashkov is superb as the charming "soldier" who, not accidentally, has Comrade Stalin tattooed on his chest. Whether Toljian symbolizes a strong-yet-corrupt Stalin and whether Katja and Sasha represent the disenchanted Russian populus, that's up to you to decide. But see it!
Look at "Vor" from the allegorical and political level and it's strikingly true. Look at "Vor" from the emotional and tragic level and it's strikingly true. This movie is deep, painful, and of course riddled with truth. That's why it's so powerful! Of course, the acting and direction show this truth off so vividly. I have to say, once again, that Mashkov proves to be an actor of amazing caliber, expression, and beauty.
Dasvidania ;-)
La révolution française (1989)
This is THE best film on la revolution francaise
It took me over 2 years to actually find this movie (well, they're two parts actually) on tape and it was definitely worth it. I'd seen it on TV when travelling in Europe but remembered it only vaguely...all I knew was that it impressed me tremendously.
OK, so the first part, "Les annees lumieres", focuses more on the privileged classes during the Revolution and how 1789 comes to be...LaFayette, Mirabeau, and so on. Most importantly, we get acquainted with our three "protagonists" of sorts -- Danton, Robespierre, and Desmoulins.
The yummy parts are actually in the second part called "Les Annees Terribles". Here Heffron masterfully focuses on the triumvirate of power centered around the main characters and how their ideologies distance them from one another. I don't want to get into too much detail, but the dynamics (especially between Danton and Robespierre) are not only cinematically superb but also historically accurate. It should be noted that this isn't some boring historical costume soap-opera...
What makes this film (especially the second part) so memorable and vivid in my eyes are the performances. First, German film legend Klaus-Maria Brandauer portrays Danton in a complex and yet very charming manner. He's masculine, powerful, but also tender. This multidimensional portrayal of Danton is something Gerard Depardieu lacked in "Danton", but I'll forgive him. Second, Francois Cluzet does a great job with Camille Desmoulins. He just needs a hug. Lastly, the best performance in the entire film came from the incomparable Andrzej Seweryn as Robespierre. It was a refreshing take on someone usually shown as a bloodthirsty, asexual tyrant. Seweryn delicately balances Robespierre's almost naive yet uncompromising belief in "virtue" with his empty personal life. Here the man behind the Reign of Terror is just that: a man. A man who is conflicted between personal ties and what he believes is best for the people. And when these three excellent performances are meshed together with a great script, we get the best movie on the period ever. If you can find it, definitely see it, c'est le meilleur. Vive la revolution!
**UPDATE** I'VE BEEN GETTING TONS OF EMAILS ON WHERE TO BUY THIS IN THE USA. THE ONLY PLACE IS 'VERSION FRANCAISE', BASED IN BETHESDA, MD. Their website is "www.francevision.com" and they have it (still only) in VHS.
Hope this helps!!
Danton (1983)
Not Wajda's best...tsk tsk tsk
I was very curious to see this Wajda-Depardieu outing, plus the time period is definitely fascinating. Being a Wajda fan, I was disappointed, and that may be an understatement. The film never really took cinematic flight -- there's no foundation for the animosity between Danton and Robespierre, etc.
Basically, the script was weak (adapted from "The Danton Affair"). And yet, the direction was masterful...it's Wajda, afterall! Also, there were some amazing actors BUT they never really grab the audience's attention like they should. Depardieu comes off as a quasi-goofy, nonchalant Danton...not exactly the image we have in mind. Woijech Pzsoniak is incredible, as usual, but again the script puts up limits even actors of great talent can't break down. Andrzej Seweryn and Bogoslaw Linda pop up ... as Bourdon and Saint-Just...and if you're familiar with Wajda, then you'd know them.
Overall, I was disappointed with this much-lauded film. Great cast, great director, but no quality foundation. Bad, undynamic script. We need to get in Danton (Walesa) and Robespierre's (General J) mindsets... what are their motivations? Eh...who knows? One likes women, the other powders himself? Riiight. Ok, so if you're looking for a great French Revolution movie I HIGHLY recommend "La Revolution Francaise"...it's in two parts and oh-so-great! Excellent performances, in-depth script, juicy tid bits...definitely a satisfying experience!! Klaus-Maria Brandauer is a much better Danton than Depardieu...the wonderful Andrzej Seweryn apparently took some notes from "Danton" and is BRILLIANT as Robespierre. SEE IT! NOW! As for Wajda fans -- you're better off with "Man of Iron/Marble", "Promised Land", and the like. Cheers!!
Czlowiek z zelaza (1981)
Poland triumphs...as does Wajda
What you need to know about "Man of Iron":
1. Palme D'Or 1981
2.Wajda's sequel to "Man of Marble"
3.Sweet-a** performances from Poland's acting elite
****NOTE**** Ok, you really do have to have a Warsaw-pact historical/political background when approaching this film, because it's compactly interwoven into flashback sequences recalling various anti-commie events (worker's movements and so on). And yes, that's mustachioed Lech Walesa making a cameo. If you have no idea what the Solidarnost movement was read up before watching this. Of course, the emotional and thus universal element is present (Maciek and Agnieska's love, etc) but this is mostly a story of survival and determination in the face of corruption and political hostilities. Polish people took amazing steps against their government as early as the late 60s, and here we see the triumphant and climactic finish to these efforts. Wajda incorporates interesting documentary footage within the film to make it more effective and appealing to his audience.
See "Man of Iron" and feel nostalgia for the times when Eastern Europe saw change as a forthcoming and hopeful force. Classic.
Ziemia obiecana (1975)
Classic. European. See this!
This definitely may be Andrzej Wajda's most introspective and interesting film. The plot grabs you with its humour and depth while Wajda makes magic with the camera. The Kurowo scene with the poppy flowers is classic...the music calls on nostalgia. Of course, what makes "Ziemia Obiecana" so amazing are the performances. Olbrychski as the scrupleless, handsome Pole...Pszoniak as the hillarious, clever Jew...and (my favourite!) Seweryn as the baby-faced, love-struck German. Naturally, this is a social commentary, but it also reveals certain truths about the human psyche. And let's remember that Wajda was one of the most liberated of all the filmmakers of the Soviet bloc. Calling this propaganda doesn't do anyone justice. Cheers and see this beautiful film!!!
Underground (1995)
Boom boom boom! Masterpiece.
There are enough comments posted to gain an objective view on Kusturica's "Underground". I just want to say how important and epic this film is, beyond the obvious cinematic feats...especially to the Balkans. Its dialogue, its music, its protagonists and antagonists breathe with Balkan humor/ferocity. A classic. Unforgettable and heart-rendering -- but only if you can make a connection, not a movie for the (Western) masses. Even more so, the performances shine and stick in your mind. Ristovksi and Manojlovic especially! And the gypsy orchestra...Kalashnikov...the dreamy, magical realism...the last scenes? Classic! Bravo bratia Srbi!