Thursday, February 26, 2009

Y Tu Mama Tambien by Alfonso Cuaron




From The Little Princess to Harry Potter and the Prisoner of Azkaban to Children of Men Alfonso Cuaron has proved time and again he is a visionary that knows no bounds and here in Y Tu Mama Tambien, considered by many his masterpiece, he paints an picture of such electric eroticism and beauty it is hard not to envy his vision. Y Tu Mama Tambien is about two boys Julio and Tenoch who during a summer when their girlfriends went to Italy decided to take a road trip with the beautiful but older and married Luisa. Luisa has decided to go on this trip because her husband is cheating on her. What happens in the consequent time is a lot of talk of sex, acting on sexual impulses, and learning about sexuality. There is a lot of graphic sex so viewer discretion is advised, but as in all movies that use sex well the sex is portrayed as part of a broken world in the broken minds of two very sexual teenage boys. Yet the movie, for all it's sex, is not about sex, it is about growing up, finding life, and finding freedom. How, you ask, does this come from a whole bunch of sex? I cannot explain it, but it does happen and beautifully so. The ending is one of great power and great sadness, a good ending is the sign of a good movie in most cases, and here it is the sign of a unique one, one that dares to go where you never dream it can. As a quick end note I still believe Children of Men to be his best and one of the most important movies of the past 5-10 years.

Movies That Define Cinema: Francois Truffaut's The 400 Blows




In 1959 a man by the name of Francois Truffaut was paving the way for the future of filmmaking with this masterpiece. The 400 Blows is about a boy name Antoine Doinel who has been put upon by society. He is a young boy who is trapped in the machine with two parents who can't handle him, teachers who hate their students, and no direction but to become another cog. Yet Doinel wants out and he sure tries. The triumph of the movie is that it is mostly improv scripting, Truffaut set up the scene but let the actors create the dialogue. They create people who are real because they aren't confined by someone else's words, they are the characters they portray. The camera moves and tells as much of the story as the characters do which is a sign of the french new wave of filmmaking. The camera casts everyone in shadow except Doinel, the only one who seems to know what he is doing. It is a movie of great experimentation and while there isn't really a driving force in the plot, it is one of the most engaging films because of its ingenuity right down to the ending. The ending is very much a part of the new wave, and ending with no resolution, at least not in the normal sense. It is an ending of poetry and beauty that hadn't even been seen prior. Since then we've seen this style of ending in such films as The Squid and the Whale by Noah Baumbach or The Graduate or Children of Men, all are variations of the ending but in the same vein. Truly a landmark film any aficionado must see.

Sunday, February 22, 2009

Best Picture

Slumdog Millionaire WOOT!!!!

Best Actor

Sean Penn-Milk

Best Actress

Kate Winslet-The Reader

Best Director

Danny Boyle-Slumdog Millionaire

Best Foreign Langauge Film

Departures.....no award for Waltz with Bashir

Best Original Song

A.R. Rahman-Jai-ho

Best Original Score

A. R. Rahman-Slumdog Millionaire

Best Film Editing

Slumdog Millionaire

Best Sound Mixing

Slumdog Millionaire

Best Sound Editing

The Dark Knight

Best Visual Effects

The Curious Case of Benjamin Button

Visual Effects

Best Documentary Short

Smile Pinki

Best Documentary Feature

Man on Wire

Best Supporting Actor

Heath Ledger- The Dark Knight

Best Live Action Short Film

Speilzeugland (Toyland)

Best Cinematography

Anthony Dod Mantle-Slumdog Millionaire

Best Makeup

The Curious Case of Benjamin Button

Best Costume Design

The Duchess

Best Art Direction

The Curious Case of Benjamin Button

Best Animated Short Film

La Maison En Petite Cubes

Best Animated Feautre Film

WALL-E

Best Adapted Screenplay

Simon Beaufoy- Slumdog Millionaire

Best Original Screenplay

Dustin Lance Black-Milk

Best Supporting Actress

Penelope Cruz-Vicky Cristina Barcelona

One Hour Till Showtime

One hour left people, and for those of you who cannot watch the oscars this blog is here for you...I will be covering the oscars live.

Friday, February 20, 2009

Why We Watch: An Essay on Film by Daniel Little

Frodo:I can’t do this, Sam.
Sam:I know… by rights we shouldn’t even be here. But we are. It’s like in the great stories, Mr. Frodo, the ones that really mattered. Full of darkness and danger, they were. And sometimes you didn’t want to know the end, because how could the end be happy? How could the world go back to the way it was when so much bad had happened? But, in the end, it’s only a passing thing… a shadow. Even darkness must pass. A new day will come, and when the sun shines, it will shine out the clearer. Those were the stories that stayed with you; that meant something, even if you were too small to understand why. But I think, Mr. Frodo, I do understand. I know now. Folks in those stories had lots of chances to turn back, only they didn’t. They kept going, because they were holding on to something.
Frodo:What are we holding on to, Sam?
Sam:That there’s some good in this world, Mr. Frodo, and it’s worth fighting for.
-The Lord of the Rings: Return of the King

In times like these why do we go to the movies? When our pockets are empty and our houses foreclosed on, what good can come from a movie? Many will argue that nothing can be gotten from a movie, it is merely a story, an escape. Yet there has to be something deeper and bigger, there has to be a reason the film industry has stood the test of time, that a movie like The Dark Knight can have people returning to theaters twice, three times, or even four times. It is because film speaks to the soul when it is done right.
We watch movies because we remember how our hearts broke in Casablanca when Rick let Ilsa go, how badly we wanted her to stay, to not get on that plane. Yet we knew she would, we watched and wanted to scream out, to plead Rick's love to her and reclaim her. It isn't because this movie is pure escape, its because it resonates in our heart the need to know that love can conquer anything. Casablanca isn't pure popcorn fodder, but rather a masterwork, it is Picasso's Guernica or Faulkner's The Sound and the Fury.
We watch movies because we remember how badly we cheered for the freedom of the Von Trapp family in The Sound of Music or for the human triumph of Oskar Schindler. We remember the endless battle of McMurphy against the evil Nurse Ratched. We watch because film reminds what it means to be human, to feel, to live, to fight. It reminds there is some good in the world and it's worth fighting for. We watch to see Sam Gamgee carry Frodo Baggins up the side of Mt. Doom after spending nine, heart gripping hours with them.
Sure there are movies that show darkness, but we watch because they teach us. They teach us of the traps of Suburbia, the foulness of government oppression, and dangers of separation. We learn to acknowledge our prison's, and how to break through them. And, truth be told, they show us who we are on the inside, the deep dark part of us we show no one.
And yes, sometimes we watch them to escape. We escape into them as many escape into La Grande Jatte's sunday afternoon as painted by Georges Seurat. We watch with engaged fascination as street gangs dance and sing and fight, we watch as a female assassin gets revenge on the man she loves. We cannot help but be enraptured by worlds that need no cops, but have masked crusaders.
The world of film is a great expanse of imagination, it is a world of life and ingenuity. Sure there is a lot of garbage to sift through, but when you find a pearl it can speak volumes into you like a great song or a caring friend or a sensuous sonnet. Film is a language we can all speak. It unites us in times like these.

Wednesday, February 18, 2009

Quick Review: Doubt by John Patrick Shanley



None will argue that this year has been a slow year for movies as it has, however through the rough a few good and some great films have come forward. Doubt, I believe, is one of the great films. While Doubt isn't breaking a whole lot of ground in terms of filmmaking or storytelling it is a well told story with four incredible performances. That is what this movie is about, the performances. It is rare that every single main performance is matched by the high caliber of the others, but this is the case in Doubt. Meryl Streep playing Sister Aloysius as an overbearing crow of a nun is delightful, she is powerful, believable, and at times, few they may be, vulnerable. It isn't much to mention her ability in acting as she always comes through. The same can be said of Phillip Seymour Hoffman who never ceases to impress and continues a beautiful resume here as the head priest Father Flynn. It is, in my opinion, the two supporting roles that are the true victors. Amy Adams as Sister James is another oscar worthy performance, Adams has continually impressed since Junebug even in her tamer fare, but here she is a woman grounded in good-spirit and love who is losing her spirit to a woman with a heart as hard as stone. She is gripping and loveable is perfect in her supporting role as she always leaves the screen for Streep and Hoffman to rule. The final role, the key role, the emotional crux of the entire movie and probably the single best performance I have seen this year is in the 5, 10, 15, 20 minute screen presence of Viola Davis. Davis as the mother of the boy Father Flynn is said to have inappropriate relations with is heartbreaking. Her scene is short, it is where Sister Aloysius informs her of her suspicions, that is it and yet from the moment I saw the trailer it was her tiny glimpse in the trailer that made me want to see this film. It is hard to describe her performance in superlatives as there are many tiny pieces to a very full character she creates from the slight movements of eyebrows to her eye movements, body gestures, tone, when she cries, how much she cries. It is astounding to watch such oomph come from so small a role. Overall Doubt is a great work of performance storytelling, it is about the people not the story, and in terms of the actors it is like watching gladiators fight a fight where only one can triumph but all are able.

Movies That Define Cinema: Alfred Hitchcock's Notorious





Many movies can be used to define Hitchcock, who in himself defines suspense, but I feel it is Notorious that is one his more deft and subtle pictures. We are given two great actors in Ingrid Bergman and Cary Grant as Alicia and Devlin. Alicia is a woman who gets caught up in a U.S. investigation into a man by the name of Alexander Sebastian, she is asked by Devlin to seduce this man and find out his secrets. Yet Alicia loves Devlin and Devlin, sometimes, loves Alicia but has a hard time loving a woman who would do what she does with Sebastian. Then there is Sebastian the bad guy who we feel for immensely because he truly loves Alicia, but is being played by her. Through just this web of love and deceit we see Hitchcock painting with broad strokes a film as much about love and desire as it is about suspense, and there is great suspense. From the moment Alicia begins her affair with Sebastian the viewer is on edge as to how all of this will play out as Devlin turns cold to her and she walks a thin line. Storytelling as only a master could tell it. Yet one cannot watch Hitchcock and not be amazed with his camera work. There is one beautiful scene at the beginning before we meet Devlin that takes place at party. Devlin sits in the foreground, back to the camera as we watch Alicia flirt and engage with the party it is almost as though the camera pivots around this shadowy figure signifying his importance without even showing his face. There is another striking sequence in which Alicia suffering a hangover wakes up shrouded in shadow, confused as she listens to Devlin speak to her. He tries to explain her necessity in the mission, and only at the end of the scene when all makes sense is Alicia in full light. The film plays out like only the best suspense can and so I do not want to ruin much only to say the end is one of immense restraint and intelligent thrill. Easier Hitchcock fare like North by Northwest and Psycho are more famous than this one, but truly as one of his earlier works this is the canvas of a master.

Sunday, February 15, 2009

Movies That Define Cinema

Over the next month or so I will be covering the films that in my eyes define cinematic genius whether it be by their performances, their direction, art direction, cinematography, directing, editing, storytelling, etc. Stay tuned for some great movies.

Friday, February 13, 2009

Australia




So here we are again with a Baz Luhrman picture. As my avid readers know I adore his last work Moulin Rouge! Luhrman is a true auteur, a man unafraid and unapologetic of his vision. Moreso he is unafraid and unapologetic of critics. Luhrman has face a lot of critical snares on his journey, but in my eyes he has made another work great cinema. The best way to describe Australia is as a sweeping romantic epic in the vain of Old Hollywood, a bygone era where going to movies meant getting away. Luhrman still believes in that. Sure there are messages here about racism and war, but most of all it is a well told story with delightful characters, it has comedy, drama, tears, fears, and something for the kids. It is a movie, like all of Baz's movies, about vision and storytelling. Critics call it conventional and cliche but I am positive that is the point of this movie. Just as Moulin Rouge! was cliche, it is Baz's delight to work in cliche and push it to new creative heights. There isn't much use in explaining the story in detail as once you begin to watch the entire narrative is apparent, but you cannot help but watch it with eye stuffing wonder. Lady Sarah Ashley, played by Kidman who is never better than when directed by Baz, thinks her husband, a ranch owner in Australia is cheating on her so she leaves her easy life in England. She ends up in Australia, husband murdered, she meets the Drover (Hugh Jackman is native accent), there is a conspiracy against the ranch, a "half-caste" (half white, half aboriginal) boy whom they adopt emotionally, a war, some love, a stampede, expansive vistas, a ball, a kiss in the rain, etc etc etc. It is all very much in the vain of something like Gone with the Wind, but in my ignorant opinion it is better. It is sweeping and colorful and beautiful and lovely, it is a rhythmic and symphonic but never(sorta) does any break into song. Sadly I am in the minority in calling this one of the few truly great and visionary films this year.

Thursday, February 12, 2009

If I Made Up the Entirety of the Academy the Nods Would Look Like This:

BEST PICTURE

Slumdog Millionaire
Rachel Getting Married
Milk
WALL-E
The Dark Knight

BEST ACTRESS
Anne Hathaway-Rachel Getting Married
Meryl Streep-Doubt
Kate Winslet- Revolutionary Road
Cate Blanchett-Curious Case of Benjamin Button
Melissa Leo- Frozen River

BEST ACTOR
Sean Penn-Milk
Mickey Rourke-The Wrestler
Brad Pitt-Curious Case of Benjamin Button
Dev Patel-Slumdog Millionaire
Leonardo DiCaprio-Revolutionary Road

BEST SUPPORTING ACTOR
Emile Hirsch-Milk
Heath Ledger-The Dark Knight
Robert Downey Jr.-Tropic Thunder
Josh Brolin-Milk
Michael Shannon-Revolutionary Road

BEST SUPPORTING ACTRESS
Penelope Cruz-Vicky Cristina Barcelona
Marisa Tomei- The Wrestler
Viola Davis-Doubt
Rosemarie Dewitt-Rachel Getting Married
Debra Winger-Rachel Getting Married

BEST DIRECTOR
Jonathan Demme-Rachel Getting Married
Andrew Stanton-WALL-E
Christopher Nolan-the Dark Knight
Gus Van Sant-Milk
Danny Boyle-Slumdog Millionaire

BEST ORIGINAL SCREENPLAY
Rachel Getting Married
WALL-E
Milk
Vicky Cristina Barcelona
The Wrestler

BEST ADAPTED SCREENPLAY
The Dark Knight
Curious Case of Benjamin Button
Slumdog Millionaire
Revolutionary Road
Iron Man