Do not ignore the hyperbolic "If you can think of THE worst movie imaginable as a mole hill, this is Mt. Everest" - cuz, you know what, for some folks this really isn't "a good movie". But with all due respect, I think those looking for resolution are really missing the point. No, this is not so much a 'mystery' as it is a study of human nature and, well, life itself. Sometimes we ARE left without answers (although, in this case, it's pretty clear to me that Paul likely disappeared to start a new life, leaving a LOT of loose ends behind). What I find really astonishing is that this was written and directed by two WOMEN! Reason? The sentiment of I don't feel like I'm appreciated, let alone loved, was what Paul felt, and he's a guy! Now, of course, they could just be flipping the husband/wife thing around, and perhaps a WOMAN disappearing would be perhaps less believable unless her safety or that of her children are at stake. I can honestly say that there have been times when I feel like pulling a stunt like that. We know that he didn't cheat on his wife - that'd be too cliched. But if I have to find fault with the plot, it is the failure to fully establish Paul's desire to disappear like that - that little video clip where he says she's not looking at him doesn't carry with it that broad a shoulder. Still, I enjoyed this as a thought-provoking movie, and I'd watch a thousand of these, flaws and all, over watching some mindless special-effect, 'clever dialogue' crap that Hollywood is habitually churning out of its butt hole on a regular basis - those and the 'sequels' and remakes. GAG!
Reviews
4 Reviews
A Prairie Home Companion
(2006)
A Sweet, Enjoyable Movie
9 June 2006
Such a delightful way to spend an evening with the wife and 200 other NPR supporters, previewing Robert Altman's new movie. Like The Player, Short Cuts, and Gosford Park, it is another ensemble cast of excellence in acting, but it is ostensibly most akin to Nashville - surely one of the best movies ever made. In feel and sentiment though, it is unlike any of the other Altman movies (that I've seen). The theme of APHC is age, mortality, and all things memorable - this is subtly but effectively brought out in the beautiful opening sequence as we go from dusk to dark. As Altman approaches 82, he is all too aware of the slow but relentless march of time. A show like APHC is the perfect backdrop for such a canvas. In terms of plot, this is not going to be a an intricate "whodunnit", but there is enough to supply dramatic tension to tie the movie together. Any attempt to describe it will take away from anyone's enjoyment of the movie for the first time. The movie, then, is more about the characters. There aren't very many directors, dead or alive, who can bring out the best in his actors the way Altman does. Particularly memorable is Lily Tomlin. Why don't we get to see more of her? One of the prominent characters is of course the music. The movie is poignant at times, roll-on-the-floor funny at others. The sense of yearning pervades the movie the way it does Mahler's Der Abschied, or his 9th Symphony. It will do a lot to ease a generation of baby boomers' fear of death. Not that Altman is dead or dying, but what a way to go!
Gate of Hell
(1953)
A gorgeous film - even now
22 April 2006
I saw this last night on TCM, which, BTW, is a rare treasure in this medium called the "idiot box". Isn't it remarkable that this movie is 53 years old, and it still sparkles? What an accomplishment! It had the ingredients of a truly great film - complex characters that are developed fully and efficiently, great story-telling with attention to details, and good acting - a little stylized, but keep in mind that that impression might be due partially to Westerners unfamiliarity with Japanese culture, and partially to how the definition of "good acting" has evolved.
I love the film's nobility and moral rectitude. Those were the days when (and we were in a culture where) "doing the right thing" was the expected norm. It was seen in Moritoh's loyalty at the price of - at least it seems at the time - expediency, which was preceded by Kesa's unflinching sense of duty and willingness to lay down her own life. This is the beauty of Kesa's "soul" that Moritoh found out all-too-late he failed to see, which manifested itself as bookends in the plot, but is in fact the moral center of the movie. Such ideals are no longer frequently or fully embraced these days. Look at how we glorify criminals in shows like The Sopranos and Thief. I also liked how the plot falls together: Kesa's readiness to sacrifice herself at the outset of the story made her self-immolation at the end of the film ring true. The little details: remember the talk of chestnuts when Moritoh first saw Kesa with her aunt? We saw later on those very chestnuts hanging on the swaying trees during Moritoh's unfortunate night time visit. When Wataru and Kesa took what turned out to be their last walk in the garden under a full moon, it was all peace and serenity. The very same setting is transformed sinister and ominous just moments later, with the moon now hidden by clouds, as Moritoh slowly emerges out of the darkness in the background - a truly masterful and memorable scene in the history of cinema.
The theme of "folly" pervades the movie: we see a lot of it just from one character, Lord Kiyamori - and he's a top dog and a leader! His son had to advise him to act quickly to quash the uprising when we first see him. He then failed to reward Kesa, who is every bit as deserving as Moritoh of recognition. Even if you chalk that failure up to be culturally driven, we have his Jephthah-like stupidity and arrogance in giving Moritoh pretty much carte-blanche in his wish for a reward. What's more, we have his incessant and insensitive teasing - instrumental in precipitating the tragedy, in that it made the proud Moritoh all the more determined to have Kesa. Was Wataru cowardly, foolish, or both, when he "threw" the race? Lest you missed it, there's the cruel irony of Moritoh's comment after his brother's treachery resulted in his execution, "My brother was a foolish man". Well you proved to be no Solomon, Moritoh.
I thought it was a little frustrating to watch Kesa's helplessness when Moritoh blackmailed her. Surely there's another way out, woman! But I suppose that's part of the tragic theme: all the characters had strengths as well as tragic flaws. At the risk of second-guessing the director of a great movie, I felt that he could have kept the identity of the person in bed a secret until the moment of truth, but I'm sure I need to remind myself that this is not meant to be a thriller. I'd like to watch this movie again, maybe along with a movie it reminds me of: Kurosawa's Ran.
I love the film's nobility and moral rectitude. Those were the days when (and we were in a culture where) "doing the right thing" was the expected norm. It was seen in Moritoh's loyalty at the price of - at least it seems at the time - expediency, which was preceded by Kesa's unflinching sense of duty and willingness to lay down her own life. This is the beauty of Kesa's "soul" that Moritoh found out all-too-late he failed to see, which manifested itself as bookends in the plot, but is in fact the moral center of the movie. Such ideals are no longer frequently or fully embraced these days. Look at how we glorify criminals in shows like The Sopranos and Thief. I also liked how the plot falls together: Kesa's readiness to sacrifice herself at the outset of the story made her self-immolation at the end of the film ring true. The little details: remember the talk of chestnuts when Moritoh first saw Kesa with her aunt? We saw later on those very chestnuts hanging on the swaying trees during Moritoh's unfortunate night time visit. When Wataru and Kesa took what turned out to be their last walk in the garden under a full moon, it was all peace and serenity. The very same setting is transformed sinister and ominous just moments later, with the moon now hidden by clouds, as Moritoh slowly emerges out of the darkness in the background - a truly masterful and memorable scene in the history of cinema.
The theme of "folly" pervades the movie: we see a lot of it just from one character, Lord Kiyamori - and he's a top dog and a leader! His son had to advise him to act quickly to quash the uprising when we first see him. He then failed to reward Kesa, who is every bit as deserving as Moritoh of recognition. Even if you chalk that failure up to be culturally driven, we have his Jephthah-like stupidity and arrogance in giving Moritoh pretty much carte-blanche in his wish for a reward. What's more, we have his incessant and insensitive teasing - instrumental in precipitating the tragedy, in that it made the proud Moritoh all the more determined to have Kesa. Was Wataru cowardly, foolish, or both, when he "threw" the race? Lest you missed it, there's the cruel irony of Moritoh's comment after his brother's treachery resulted in his execution, "My brother was a foolish man". Well you proved to be no Solomon, Moritoh.
I thought it was a little frustrating to watch Kesa's helplessness when Moritoh blackmailed her. Surely there's another way out, woman! But I suppose that's part of the tragic theme: all the characters had strengths as well as tragic flaws. At the risk of second-guessing the director of a great movie, I felt that he could have kept the identity of the person in bed a secret until the moment of truth, but I'm sure I need to remind myself that this is not meant to be a thriller. I'd like to watch this movie again, maybe along with a movie it reminds me of: Kurosawa's Ran.
Sexy Beast
(2000)
Brilliant, brilliant, brilliant
30 December 2005
Warning: Spoilers
I just saw the tail end of this (last 60%, maybe) on IFN (bless you, IFN), and already I love it. This film makes Tarantino look like an amateur (I've always considered Pulp Fiction somewhat over-rated, and Reservoir Dogs VERY overrated, despite good performances in both). This movie had me on the edge of my seat. Yeah the director used some tricks (like when DeeDee was shown lying in bed with her eyes open - was she dead? Had Don blown her off in a rage?), but a '9' is a pretty good score in my books. Kingsley was just over-the-top brilliant - meaning it wasn't overplayed or anything, but just a supreme performance that's PITCH PERFECT! The language, or the violence? Well, my friends, I'm not about gratuitous cussing or gore, but everything fits in this film, including those 2 elements. They're portraying ruthless gangsters, for crying out loud. What do you expect - prithee please, with a cherry on top? For a simple story, it held great suspense to this viewer. Well done!
Tell Your Friends