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Reviews
La otra conquista (1998)
We need more like this.
"The free thinking of one age is the common sense of the next." - Matthew Arnold
'Las otra Conquista' depicts the conflict and struggle between the Spanish and the Indios in a way that is not so biased. Mexican history, like the history of the Americas is usually told in a certain way. Yet, as time goes on we are learning that what was taught to us in our history class is just another version, or sometimes lies, of what has really happened. As the old saying goes, history is, "His story."
It has been said that the Indios are savages. Some say this is because they killed, or sacrificed, a virgin to appease their Gods. Yet, the Spanish also killed millions of natives in the name of their Lord, God (Virgin Mary and Jesus). Who is right and who is wrong? Or is any one right?
Carassco takes a brave step and portrays the interaction between the Aztecs and Spanish in a more objective approach. It is quite unfortunate that he was not supported more by his country of Mexico. It is as if he was the protagonist in his own story. On a journey to tell a story of his Mexican people, just as Topiltzin tries to tell his story. Only Topiltzin does it in picture-writing and Carassco does it through film. Carassco endured and the film has become quite a success. I commend him for his courage and persistence.
Many people do not have an idea of what Native people of the Americas have gone through. Yet, that interaction with Europeans has made what the Americas are today. The phrases in the language, the diet, government and generally the overall way of life. Notice how different the Americas are from Spain, Europe and the rest of the world. Carassco eludes to that in the film.
In addition, this film sheds light on a controversial subject that brings about conversations such as this. Hasn't every country in the world been invaded by another at some point in history? Doesn't this film speak to everyone in that respect? Furthermore, it still is a great movie about the endurance of the human spirit. For that reason, it touches us all.
We come far as a 'civilized' society. For instance, we no longer have slaves. Today we say we should tolerate people of other ethnicities. Yet, maybe one day we will be able to celebrate other people and their culture, and not just tolerate them.
Dom za vesanje (1988)
Magical realism
'Time of the Gypsies' is a surreal coming of age film. It explores this close knit, transient people who have a different language, culture and way of life. As a people, gypsies are not well understood. Some may even argue that they are mysterious. Historically it is thought that they started in Romania and moved to other parts of the Europe (like Milan, and south of Spain etc), living on the margins of society. Kustarica seems to capture the essence of this culture in, 'Time of the Gypsies' through the use of magical realism. His artful and skillful use of magical elements and illogical scenarios in a normal setting, depict the Gypsies' timelessness.
For instance when Kaditza ( Perhan's grandmother) instructs Perhan to show his telekinetic powers to Akemed, he throws the spoon on the wall and makes it move around a picture with his mind (while the house in the air). This makes no logical sense. Another example is when, Danira who is Perhan's sister, sees her mother's veil flying in the air. Later we see the flying veil before Azra gives birth and levitates. The characters make no remarks as to this being an unusual event.
Finally, there is the beautiful river scene where Perhan and Azra lay naked in a boat. One is not sure if this was a dream, or if is how Perhan remembers how they made love, or when this took place, if it did at all.
These examples show the how things happen in everyday life in 'Time of the Gypsy', yet defy explanation. Strangely enough, there are even boxes moving along the ground for no apparent reason through out the story. Kustrika had the technique and style to tell a story about a young man growing up Gypsy culture through magical realism. This was a genius way of portraying a people who seem to handle time and space much differently than other people of the world.
Qian li zou dan qi (2005)
art
'Riding Alone for a Thousand Miles' is work of wonderful art. Not only does it have a heart felt story the cinematography is quite compelling.
It is about a estranged relationship between a father, Gouichi Takada, and son, Kiichi. They have not communicated for years-until things become life or death. The daughter in law calls Takada and tells him that his son has terminal cancer. Kiichi still does not want to see his father, so Takada goes on a mission to China. He tries to do a kind gesture of recording a folk song for his dying son, only to encounter numerous obstacles of language, time, and governmental red tape.
The content of the story is as strong as the style. The effect of the film is a mark of a master of style and technique. Take into consideration the contrast in the shots between China compared to that of Japan. Somewhat of a subtle change, yet one that the viewer can feel.
For instance, in the beginning of the movie there is visually stunning scene. Takada is sitting on a remote cold beach. There is a grey sky and streams of dusty light pierce the dark clouds. The dark navy ocean breaks against the black, charcoal rocks. Later when we see him shovel snow, the only grass is the dead dull yellows patches here and there in the frame. The images look flat and blurry. Perhaps shot with a long lens.
Another example of this is when the daughter-in-law is on the phone with Takada. She learns that he in China and she wants him to come back to Japan. She blends in to her environment which lacks color. Or when she stands on the balcony, she is in a grey dress and dark jacket. The sky is overcast and the trees are a grey brown. The palette is of limited colors that range from muted grey to dull blues.
On the hand, scenes in China are colorful and much more lively. For example, when Lingo takes Takada to buy a silk banner. There are robust images of brilliant reds and striking yellows. The sky in China is a shade of jade blue with white fluffy clouds. Not at all like the sky that is shown in Japan.
Furthermore, when Lingo and Takada are on their way to Stone Village, they are picked up by an old truck. They are standing along side women who have colorful scarves of pink, green, orange and red. There is also green leaves and branches that are in baskets tied to the truck. This vibrant color was not seen in the shots of Japan either. Seems like scenes in China have deep focus too.
There is a contrast between Japan and China. Yet, they are quite subtle and do not pull us out of the story. They just seem to feel different. This detail, again is the work of a director who really knows their craft.
Viskningar och rop (1972)
great actors
The overall performance of the actors is great in, 'Cries and Whispers'. Each brings their presence to the scenes. Even when there is just silence, true to Bergman's style, the actors tell the audience the story through their being. They are all quite expressive and can convey their thoughts and feelings with out words. Again, true to Bergman style, they use touch, glances and when there are close ups, their faces are full of emotion. We see this when Karin and husband have a quiet dinner together.
It is said that talent is difficult to measure or quantify. Yet, one thing that determines a good actor is their consistency. This is seen in, 'Cries and Whispers'. For one, they are true to their character through the film. Secondly, some of the actors in the movie, like Liv Ullman, have been in other Bergman movies. This is evidence that talent is also the consistency an actor can play a wide variety of roles.
The actors also do a splendid job of playing conflicting emotions. For example, Karin acts like a part of her wants to be touched by her sister Maria, yet Karin barks, "Don't touch me." This painful contraction is quite complex and she pulls it off realistically. These characters do this back and forth through out the film, and the performance holds together weather they are crying, being vulnerable, or being cold and abrasive.
Furthermore, the ensemble works extremely well. They are sensitive to each other and responsive, even if it is very subtle. They embody the characters so well that they seem to belong to the set. They blend in to the English manor house seamlessly.
All this has an effect on the audience. When Anne, the housekeeper, is fired from her job, one feels bad for this saint of a women who has done nothing but good for the family. Overall, this movie has various aspects that are great, its hard to focus one just one element. Yet, as for the acting, it was marvelous.
Idi i smotri (1985)
Wow, great!
In 'Come and See', one could watch the ugliness of war through the main character Floyra. For instance, after the bombs dropped in the forest, Florya lost his hearing. The audience hears the sound perspective of Florya when there is a loud ringing noise and muted sound of words. Other sounds the audience hears are echoing words and/or erratic noises. It feels dream like with muffled noise and bits of music here and there. Surprisingly enough, there is no voice over narrative (because we are so in tune to Florya and his experience).
In addition, the characters were was dimensional and interesting. When Glasha was dancing on the box in the forest, it seemed theater like. One conjures up a life of hers before the war, working on a vaudeville type stage. She also seemed to have knowledge beyond her years. Maybe from working? Or from her experience of war time. She says the general will die, as if she has seen death before. This is in contrast to Florya's character who is so innocent and ignorant of evil in the world.
Other contrasts in the movie are when a man holds a sign that says, "Hitler the Liberator," right before the town massacre. Another contrasting shot during the rape and pillage of the town is of a Nazi lady who calmly eats lobster while she plays classical music. The very next shot is of the church in flames, burning people alive. Most shocking and horrific is the long shot and close up of the girl who was brutally beaten and raped by a truck load of Nazis. Again the terror of it all is manifested on Florya's point of view shots and the look on his aging face.
Toward the end of the film Florya shoots at Hitler's picture with the slogan of liberation. Then, young boy who is dressed like Floyra in the beginning of the movie appears. He is the "new comer" and Floyra is now the experienced one. The toll of war is written all over his face with wrinkles and tears. With this Florya is still telling us his story.
The end is very poetic. There is a long take of the beautiful forest and gentle snow falling. Then the audience sees the triumph of human spirit of Floyra, and the rag tag band that drove the Nazis out of the Soviet Union, moving out. This is accompanied by a swelling Mozart score. The band and Florya, our now grown up protagonist and character narrator to the story, march out of sight.
Le fantôme de la liberté (1974)
So surreal
Bunuel pokes fun at human society by bring up traditions and conditions of modern day life that are taken for granted as truth. This is seen in the various tableaux through out the move, 'Phantom of Liberty' or 'Spectator of Liberty'.
For example, when the nurse is driving along the road to see her sick father, she is stopped by the military. They ask her if she has seen any foxes on the road. She tells them no. Next they ask her if she has seen any foxes crossing the road. She say she did not see a thing. Then the soldier tells the other soldier that there were indeed foxes because, "I had first hand information sir. Maybe it's the storm." As idiotic as this may seem, military wasting their time and money on looking for something that is not there, it is not far from truth in the real world. How much time and money did Bush spend looking for, "Weapons of mass destruction," under Saddam Hussein? In the end of the investigation nothing was found.
Bunuel goes on to mock our culture and taboos when the professor attends a respectable dinner party. All seems normal until the party sits on toilets, instead of chairs, at the table. Later he goes to the bathroom alone for a meal. The professor even goes as far to say that he had to cut his trip in Spain short because, "Madrid was filed with the stench of-pardon my language-food. It was indecent." Bunuel points out the strict guide lines that we adhere to in regard to taking in energy, or nutrients and excreting waste, which are both natural bodily functions. Although this scenario may seem far fetched, one begins to question the necessity of our customs and how ridiculous they may be at times.
In the scene of the sniper, it is shown how killers become famous and are set free. He is dubbed the, "Poetic Killer," by the press and has a big court hearing where he is sentenced to death. Some how he is set free to enter the general public again, signing his autograph as he exits the building, because he is now famous. This has been seen in the news. Sometimes criminals that commit heinous crimes somehow are set free and kill again.
Overall, Bunuel does a incredible job of representing society's morals and cultural taboos through the actions of fictitious characters that serve as humorous symbols of our life.