Persona - Reaction

[Sweden]

Ingmar Bergman's existential film about an actress who decides to be silent and her nurse who talks to fill up the silences. The actress refuses to act, so to speak (pun unintentional), in the theater or in the real world. The film focuses on the doctor-patient relationship and psychological transference, a la Freud. Switching psyches. Maybe the doctor is really the patient and vice versa? A deep and deeply enigmatic film open to lots of interpretation. Deals with issues of love, silence, guilt, motherhood, loneliness / estrangement / inability to reach another, and the evils people can inflict on each another. I can imagine (and know there are) countless essays written about this film.

Visually, this black and white movie feels clinical and sterile. (This is apropos to the theme as well.) The cinematographer relies heavily and rightly on close-ups of the two main actresses.

Parts of the movie feel almost experimental, especially the inexplicable opening sequence containing a crucifixion, a boy waking up, a morgue, a weird movie projector, and a boy facing a large screen showing a woman's face. A few frames appear throughout the film reminding viewers the film is an artificial construct. Many labels may be appropriate to the film: experimental, post-modern (an odd label to apply to a 1960s film), surreal, bizarre, and abstract. Don't let these labels put you off too much; it does have a plot, even if the theme and, at times, the visuals are unconventional.

This movie includes some great lines:

But you can refuse to move and be silent. Then, at least, you're not lying. You can shut yourself in, shut out the world. Then you don't have to play any roles, show any faces, make false gestures. You'd think so... but reality is diabolical. Your hiding-place isn't watertight. Life trickles in everywhere. You're forced to react. Nobody asks if it's real or not, if you're honest or a liar. That's only important at the theater, perhaps not even there.

The anxiety we carry with us, all our broken dreams, the inexplicable cruelty, the fear of death, the painful insight into our earthly condition ... have worn out our hope of a divine salvation. The cries of our faith and doubt against the darkness and the silence are terrible proof of our loneliness and fear.

I'll conclude with a great remark by John Hardy, a reviewer posting his comments on IMDB:

How this pretentious movie manages to not be pretentious at all is one of the great accomplishments of `Persona.'

Murder on a Sunday Morning - Reaction

A neat documentary about a black teenager accused of killing a white tourist in Florida. It's clear the police arrested and charged the first black guy they found. It's a case of bad police work and a mis-carriage of justice. What's amazing is the filmmakers must have decided to make this film within days of his arrest, as they have conversations with the characters well before jury selection.

While I wouldn't call it mesmerizing or enthralling, I was anxious to know how the trial turned out. The storytelling technique is straightforward. Even the characters are surprisingly simple -- if this were a movie I'd complain, but it's real life. It's striking how the characters, both good and bad, are so stereotyped -- they fit their molds. Maybe this is because we don't get know some characters very well (e.g., the accused teenager, the prosecutor, and, to some extent, the parents of the teenager as well as the victim's husband). It's not clear whether this is good or bad, keeping the focus on the trial itself, and whether this is intentional or unintentional. The film mostly focuses on the public defender and his assistant. It's a great reminder of the importance of public defenders, especially good ones.

Soap-opera-type music is used to help dramatize the film.

A Perfect Candidate - Reaction

An okay documentary about Oliver North's senate campaign in Virginia in 1994. Worth watching if you're interested in the campaigning process. Explores the use of negative ads without appearing negative, flip flopping, and the failure of politicians to state platforms or opinions on any issues. It even explores political alliances of necessity, as exemplified by Wilder's endorsement of Robb. The movie to some extent was more about North's campaign manager and a Washington Post reporter and their involvement with / reactions to the campaign than North or Robb themselves. In fact, we don't see into North or Robb much. Roger Ebert remarks on this lack of platforms and seeing the candidates only as much as they put themselves forward: "Personalities are being sold, not parties or philosophies, and `A Perfect Candidate' makes that process even more interesting because one candidate, Robb, apparently has no personality at all, while the other, North, has two."

I didn't think the documentary gave that great a background on North and the Iran-Contra affair at the beginning of the film, but the friend I watched it with thought it did okay. I would've preferred more about the lying to congress and the perjury, as this significantly affected how adults I knew voted in the race. In retrospect the movie covered the issue as well as it was dealt with in the race itself. Overall, the film felt reasonably balanced.

It's interesting to watch in 2007 for observations on how Virginia was in the 1990s (e.g., confederate flags, religious right, gun owners). Also interesting: the movie briefly talked about how North's campaign manager was involved with a dirty memo alleging Marc Foley's homosexuality, an issue that was in the news quite a bit last year (2006). It's even amusing to see how much 1994, with haircuts, mustaches, and fashion, looked like the 1980s.

Also striking is the contrast between how good the men involved are at politics. North is charismatic. Robb is not; he's awkward. Clinton, in his brief appearance to arrange Wilder's endorsement of Robb, is even a bit better than North.

The commentary reveals the directors cheated somewhat in editing, distributing some clips throughout the movie (rather placing them at temporally appropriate places) simply to generate the structure, plot, and character growth the directors desired. It worked.

Batman Begins - Reaction

Fantastic. A fast moving, action packed film with very good cutting, framing. and visuals. But, with good acting and an engaging story, it's so much more than a typical action flick -- it's dark and brooding and deeply psychological as well. In terms of the atmospheric city it portrays, it reminds me of Sin City.

Ushpizin (translates as "Guests" or "Visitors") - Reaction

[Israeli]

A decent, cute drama about a poor orthodox Jewish couple who pray for a miracle and soon get given money, a sukkah, and two visiting ex-cons. Since the story feels light and uncomplicated, one can easily imagine that it is an age-old religious parable about asking for miracles and being tested. The movie starts slow and speeds up a little though not much. Don't be mislead by the reviews that call this a comedy; it's only a comedy in the same way America's Funniest Home Videos is funny -- watching something bad happen in slow motion.

The movie's background is interesting. The actor who plays the main character (who actually also co-wrote the script) had retired, became religious, and came out of retirement for this film. The movie was approved by rabbis and shot according to religious law and policies, one of which required the actor's real wife to play his wife in the film. Also, apparently the movie was lauded for its rare glimpse into ultra-orthodox life (setting, how they live, etc.).

Brick - Reaction

One of the most unusual/odd movies I've ever seen. It's effectively a film noir played with high school students. (Of course, the actors are really college students or twenty-somethings.) As convoluted as the very best noirs. (Pay attention!) And paced the same. Still, it's weird watching a film which has typical noir-style dialog (though updated a bit for the modern day) said in parking lots and school yards by people in jeans and t-shirts, all set in pretty, sunny suburbia. While I could suspend disbelief for much of the film, a few aspects brought me out of it: the brief hobbit conversation, the Pin's mother offering her guests cookies and juice, and the fact that no one ever goes to class and parents generally don't exist.

Brick is also commendable for its camera work. In a few scenes, the way they changed depth of field or film speed to great effect made me gasp.

A must-see for a noir fan, if only to see the contrast between this vision of a noir film and ones made half a century ago.

The film's also a testimony for what one can do with a small budget. The writer/director raised money for six years (mostly from relatives and friends), eventually making the film for one million dollars.

The commentary track claims the movie deals with cliches and manipulation in high school, and how everyone in high school is so earnest, thinking everything that happens there is so important. I don't think these aspects play an important thematic role in the film.

Abandoned - Reaction

Noir. A decent, fairly straightforward thriller about a baby-selling criminal group. The male lead, a journalist, is an okay, somewhat flat character; the female lead, a woman looking for her sister, is a much better actress. The movie is punctuated with odd, infrequent voiceovers that are definitely out of place.