Tuesday 30 June 2009

Traveling Wilburys
(2007)

RATING:80%
FORMAT:CD

This is a collection of very warm music from competent, diverse, old style musicians who get along well and have nothing left to prove and where egos do not get in the way of music making. That the first CD of this double CD collection went platinum is, thus, not a particular surprise.

Not great music by any means but great fun all the same.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.co.uk) is included: E-mail notification requested. All other rights reserved.

Pajama Game
(1957)

100%

Snappy, catchy tunes, songs and brilliantly choreographed dance sequences in musical comedy mode. A labour relations operetta about the interdependence of management & workers and their generalised failure to work together as efficiently and as effectively as they could, given enough goodwill on both sides. Management refuses to pay promised wage raises; staff throw spanners in the works: A lesson for all would be capitalists.

The sexual chemistry between John RAITT and Doris DAY is effective as their dramatic conflict stems from the fact that he superintends a clothing company at which she is (to all intents & purposes) the Grievance Committee. And DAY is very believable as a workers' activist on the sweatshop production line on which she also works since she can act as well as she can sing. This inevitable conflict of interest drives the drama forward; while successfully mirroring the ups and downs of their sexual relationship and proving the internecine nature of such combats. Thus, their relationship successfully mirrors the industrial conflict shown; allowing us to personally identify with the drama and its characters.

This movie shows that there can be no compromise in sexual ethics – only in sexual politics. That personal relationships involve sharing while business relationships require give and take.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Cat On a Hot Tin Roof
(1958)

80%

Dame Elizabeth TAYLOR is superb as the archetypal woman who desires men's desire somewhat more than the men themselves. She completely inhabits her role as a woman whose sense of her own femininity lies in fierce, passionate loyalty to one man. (Seeing this excellent [& beautiful] performer makes you wonder what went wrong in her later, less interesting, acting years). Paul NEWMAN is also very good in the more muted role of a physically injured man who also possesses psychological issues he runs away from via alcohol. His use of crutches provides an ideal visual counterpart to his need of an emotional crutch.

The supporting cast also excel, particularly Burl IVES as the unloving family patriarch and (another Dame) Judith ANDERSON as his self deluded wife. IVES' character is more of a boss than a father and rather more concerned to pass his seed on to the next generation than deal maturely with the present. He showers people with gifts rather than truly love.

there is a palpable sense of heat in this movie – both meteorological and sensual - symbolized by Taylor's prickly (cat on a hot tin roof) performance. Her sex starvation and childlessness eat away at her wife in love with a man who cannot bear to even touch her because he is still overwrought by the death of his best (male) friend (or perhaps lover). All this before the sub tropical rainstorm that will inevitably follow as part of the denouement.

Where things go a little awry is in the implicit gayness of NEWMAN's character being evaded to the detriment of this cinema version of Tennessee WILLIAM's stage play of the same name. Even though the emotional intensity remains. The basic theme is one of both private and public mendacity. The kind of lying caused by not wishing to hurt others' feelings (& expose ones own); making it more likely that they (& you) will be hurt even more in the long run. This somewhat compromised film - by the Hollywood censorship standards of 1958 – reveals a paradoxical flaw: A film about lies that is partly a lie itself.

Nevertheless, this is the kind of intense, dysfunctional family gothic melodrama that made so many old style Hollywood movies worth watching. The actors used to tear up the scenery for our entertainment – but not any more though.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Au Hasard Balthazar
(1966)

80%

Both an oblique parable and an allegory of The Passion of the Christ. As such, it is a treatise on human cruelty that is often difficult to watch - since the barbarity is inflicted upon a blameless animal.

Yet this film is a profound meditation on the human condition since the donkey Balthazar is never shown as a victim – despite his suffering – and because humans are mostly shown as being more animalistic than he – especially the juvenile delinquents shown.

The performances from non actors are compelling, especially Anne Wiazemsky as the sad eyed, weak willed and unloved Marie. Sexual lust, domestic abuse, murder, smuggling, alcoholism, animal cruelty and malfeasance are the immorality shown, and the title suggests that animals should beware of human beings because so many wish to vent their personal frustrations upon them.

There is no real characterization to speak of only archetypes for different character disorders, such as overweening pride, sexual lust and volitional ignorance. This makes for an emotionally distancing effect that the paucity of likeable people on display exacerbates. Yet, this is one of the ultimate road movies, since we travel with Balthazar as he passes from owner to owner. And one of the best trawls through human folly filmed - with a dumb animal as mute witness to such folly. The plot thus goes around in concentric circles like a merry go round; becoming, in the process, an ascetic work of ultimate sainthood for a donkey named after one of the three wise men from the East bearing gifts for the infant Jesus!

Monday 29 June 2009

All Over the World
(2005)

RATING:60%
FORMAT:CD

These throwaway rock-operatic popular music tunes do not really stand the test of time. Attempting to fuse incompatible genres (Rock ‘n’ Roll & Classical) together was always doomed to fail since the result was always going to fall between two stools and be neither fish nor foul. The best attempt at this was The Beatles’ Sergeant Pepper’s Lonely Hearts Club Band – and the attempt should have stopped there.

The only lasting monument to Jeff Lynne’s love of the Fab Four is the first track on this CD: Mr. Blue Sky. This is about as good as he ever got and everything else he subsequently produced was essentially variations on a discreditable theme.

Good fun but for existing fans only.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Bela Tarr Collection
(2009)

60%

MAN FROM LONDON:


With a movie like this, adjectives like hypnotic and/or mesmeric can come to be mere euphemisms for boring and tedious.

The actors Béla Tarr employs here are some of the best in the world and he also obviously picks them for their physiognomy – which looks at its best in monochrome. His close-ups reveal character as no other director can yet, since the length of this film cannot be supported by its meagre content, one can never escape the feeling of doing little more than watch paint dry.

WERCKMEISTER HARMONIES:


Long, adroit takes show a culture in decline as scared people wait lethargically for a sign of deliverance they have not earned. The resultant civil disorder here in a nowhere land of the imagination where past harmonies are eventually seen as present discordances.

The mob mentality of those united by hate and fear is well shown as they desperately seek scapegoats - among the weak - for the unhappiness their apathy has led them to. Surreal, macabre and sinisterly black & white imagery gives the piece a slow moving beauty.

DAMNATION:


Treads a fine line between hypnotic beauty and sleep induction. The lives in stasis here prove the worst hell comes from having nothing to do and from trying to live life through others. Without ethics, the people shown here become little more than dogs. A true filmmaker who can tell stories visually without needless dialogue.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Father Goose
(1964)

60%

Trying to hard to be another African Queen, this movie miscasts Cary Grant as a drunk. He is no Humphrey Bogart and so has to present his alcoholic in comic terms; making this film rather unrealistic. Moreover, children enter the mix and do little more than increase the cuteness quotient to paper over (& yet reveal) the formulaic nature of the entire enterprise.

That said, this is quiet, unassuming fun that cannot fail to amuse. The humor is light and the oblique sex jokes unlikely to offend any but the bluest bluestocking. The chemistry between Grant and Leslie Caron is palpable and they make a bright and breezy couple: The Filthy Beast & Miss Goody Two Shoes. Both performers are as good as each other - comically - and their sense of timing is excellent. It is only a pity that this vehicle for their undeniable talents did not have more to say about the sex war than it does –it could then have been the romantic comedy classic that The African Queen is.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Hamlet
(1990)

80%

This version of the play features an excellent cast and a surprisingly convincing Mel Gibson in the leading role. He can do the verse as well as the rest of them and is not the embarrassment to watch his inhibited style usually makes of him. Presumably, he felt he had to give of his best in this movie, otherwise he would look a complete fool among such topflight talent? Given that possibility, he does indeed manage to be the emotionally affecting core to director Franco Zeffirelli's version of the timeless tale of the ultimate dysfunctional and self destructive family.

The ending to this filmed drama is an excellent exemplar of the following:
For ’tis the sport to have the engineer
Hoisted with his own petard.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Saturday 27 June 2009

I’m No Angel
(1933)

80%

The deliciously lubricious Mae West does her thing as a free spirited woman going through men like a hot knife through butter: As the title makes clear.

West plays the man’s game better than the men do but they still cannot resist her – especially not Cary Grant who very much plays second fiddle to her star turn. She does not act but rather stands looking at the other actors or walks in a ludicrously exaggerated catwalk while delivering a series of witty, Oscar Wilde like one liners. “When I’m good I’m good; when I’m bad I’m better. It’s not the men in my life so much as the life in my men. (& the inevitable) Come up and see me sometime.” Her sexual purring at good looking – and preferably rich – men comes deep from her diaphragm and says all we will ever need to know about what is on her mind.

More a vaudeville routine than a true acting performance, west breezes through the plot with the feeling that no matter what happens everything will turn out right. The fact that it does in no way diminishes the sheer fun of her best work, of which this is one. That she is able to get away with so much sexually oriented material within the confines of the UK censors’ U Certificate is nothing short of miraculous; while proving they have a sense of humour.

‘Beulah, peel me a grape!’

Thursday 25 June 2009

Waltz with Bashir
(2008)

80%

The graphic novel style of this film is quite striking and entirely successful in terms of mimicking that form of aesthetic presentation. There is also much black humor here - especially of the pornographic kind - yet, amid the ugliness there is much beauty. This is perhaps a better way to show such unpleasantness since fully explicit live action would possibly be too sickening to watch and defeat the movie's objective by making us turn away from that which the filmmaker wants us to closely observe.

This film is essentially about forgetting what you do not want to remember and remembering what you do – even some twenty years after the event. These dissociative memories are the mind's attempt to escape both fearful experiences and their long term consequences, particularly guilt. Yet, at the same time – as the film carefully and cleverly points out – we seek out these suppressed recollections for fear that if we do not, we shall go mad with not knowing. Crazy also from not understanding what is really going on inside ourselves and from what happened to us in the past that made us whom we are now. This slyly mirrors the Socratic dictum: The unexamined life is not worth living.

Politically, this semi documentary memoir is a critique of Israel's violent and indiscriminate self defense policy and the resultant activities of the IDF. Especially, the IDF's complicity in the Christian Phalangist massacres of Palestinians in Beirut in 1982. A truly haunting exploration of memory and guilt and of the link between the two.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Prince & the Showgirl
(1957)

RATING:80%
FORMAT:DVD



In this twentieth century fairy tale, Marilyn MONROE gives the impression of being both carnally innocent and sexually attractive: A rare talent, indeed. Once you get over the sex symbol nonsense, you realize you are in the presence of one of the most gifted film comediennes of all time. Her body language and comic timing are of a very high order and the fact that she is also very pleasing to look at is really an incidental side issue that only serves to add piquancy to the entire dish. MONROE comes across as a naughty child desperately seeking an approval that is more pitiable than sexy. She presents herself by externalizing how women often feel about themselves – both attracting the male gaze while simultaneously refuting it.

The other pleasure this well acted movie affords is the fact that MONROE seems completely unfazed in the presence of a top class thespian like Laurence OLIVIER. So much so that she completely steals the show – as perhaps she knew she would – so has no real need of being scared. Your eyes are on her at all times so that OLIVIER must have simply given up any attempt to upstage her since any such effort would inevitably have been doomed to defeat. OLIVIER was never good at foreign accents and nowhere near as good at comedy as MONROE, and it shows.

Here, the old world of Shakespearean declamation confronts the new world of the Method School, in the same way that the story – itself - is about old fashioned manners and mores colliding with American brashness. The resulting culture clash is funny but does not develop as well as it could because the chemistry between the two leads is not all it could have been. Terence Rattigan’s writing manages to save the day in this obliquely political film by presenting MONROE as the most attractive Madame de Pompadour of them all.

(Interestingly, MONROE is described in the dialogue here as 'slim and pretty' when, by the contemporary (2009) standards of White culture, she would be considered obese.)


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Vie est un Long Fleuve Tranquille
[Life is a Long Quiet River]
(1988)

80%

Middle class teach their kids to hate the poor while affecting a (patronising) concern for them. They hide their problems and so suffer for them unnecessarily when a little honesty in the first place would have saved so much trouble later. The poor here are wastrels who choose not to work hard because those not like them believe that leopards can't change their spots, so what's the point of trying to better oneself when others will try to stop you.

The real pleasure here is that it is the kids themselves who handle the situation best in coming to realise that they have two families, not mutually exclusive ones.

This delightful mockery of contemporary (1988) Western culture presents White racism as terrorism, marital infidelity as an alternate claim of conjugal rights, juvenile delinquency as an excuse for social welfare and the religious hypocrisy (& religiosity) of siding with the powerful as proof of Christian teaching. Apparently, Jesus Christ actually invented love; excusing the authoritarian, pedagogic and ineffective schooling we see here.

The essence of this comedy is the inability of many to commit to others emotionally, especially because they are too busy with their careers for any intimacy other than sex. The bourgeoisie is, as you would expect, presented as emotionally retarded social snobs; the petit bourgeoisie, as emotionally expressive yet wanting to be bourgeois; and, the poor as fully expressive in an insensitive and tactless manner - as well as being welfare dependents. These issues are raised via a simple plot of babies switched in hospital by a nurse seeking personal revenge against a doctor. The son of a rich family is raised by poor parents; the daughter of a poor family by rich. This leads to complex consequences that are difficult, if not impossible, to foresee in this riotous political satire. Much of the humor springs from the fact that the adults are completely nonplused as to what to do while the children themselves take everything in their stride. This makes the latter more instinctively Christian in their attitude towards the poor than the adults.

The poor family is paid off to have their twelve year old son raised by the rich family and this leads to them being exposed as nouveau¬ rich parvenu; taking taxis to the supermarket – blowing their windfall at the earliest opportunity. The rich family is concerned with saving more than spending; making this also a comedy about the relative merits of deferred gratification versus the instant kind. All the social classes here lack any real emotional rootedness and are simply squabbling over what remains of former Western cultural greatness. This conflict is particularly resonant in the casual racism of claiming that someone is French but Jewish and that Arabs should be grateful they are allowed to live in the West, at all. In reality there is no way of truly separating the social classes because the differences are minimal and all social snobbery is little more than the attempt to pretend otherwise.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Idi i Smotri
[Come and See]
(1985)

80%

Subjectivist, first person, impressionistic and elliptical war movie that gets the point of war (establishing truth over lies) but not always the outcome, from the position of someone whose entire village is massacred by occupying German troops. This immersive and disorienting technique almost literally covers us in the muck and the bullets; yet firmly anchors us, emotionally. It shows the inherent brutality of war – particularly Total War – without brutalizing its audience.

The life changes wrought, not by war as such, but by the realization that war is inescapable, are shown with chilling candor. Thus, to become truly effective in an anti-fascist war, the Russian partisans must act in accordance with the old rubric: The only good Nazi is a dead one. Here, unfortunately, the film runs into a problem it does not solve. It tries too hard to be intense and thought provoking; making the film longer than necessary to make its points – that is, of course, unless one has actually had the unpleasant experiences depicted.

The acting is as grueling to watch as it must have been to perform in its search for extreme authenticity. There is a deft understanding of the absolute and profound anger and bloodlust Total War causes, without indulging in narcissistic emotionalism. Ultimately, a clever indictment of one of the most abominable examples of White racism, as we witness a young man visibly aging in his literal and psychological journey through the killing fields of Byelorussia. It is his unlined face, more than any other (presented direct to camera) which gives this film its haunting, silent movie quality.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

BETWEEN BARACK & A HARD PLACE:
Racism and White Denial in the Age of Obama
(2009)

80%

This book expertly discusses what a Black president of an institutionally racist country like the United States means in terms of the widespread White denial of the existence of such racism.

White racists claim it means White racism no longer holds Blacks back even though White sexists never claim female national leaders means the end of sexism in those nations that have had them! By denying political and historical context, White racists believe they can then deny the existence of racism even though the fatuousness of the denial is proof of the denial's essential falsehood. It is also proof of Their desire to reap the benefits of unearned White privilege in perpetuity – whom, after all, cuts the throat of the goose laying them golden eggs?

The author, Tim Wise, shows White racists find Barack Obama non threatening because he rarely reminds them of the ways in which the US is racist. In so doing, Obama effectively allows White racists to divide Blacks into "Acceptable" and "Non Acceptable" Blacks in order to appear racially tolerant! This is an inherently racist conception since it never applies to Whites because of their skin color but because of their behavior. If White racists claimed there are acceptable and unacceptable humans then their racism would not be so nearly obvious and overt. While doing this, White racists all the while bash Blacks for not conforming to White norms – one of which is institutional racism! "Acceptable", in this context, means allowing White racists relief from the fear of Black revenge (& responsibility) for institutional racism.

President Obama then must avoid mentioning his phenotype in order to maintain his electoral base and placate the White racists who voted for him, despite the claims that it is no longer necessary for him to do so! (Like a man in a wheelchair applying for a job of Runner!) No White politician is required to do anything like this and so this feeds racist White denial by avoiding the entire issue. Barack Obama effectively emancipates White racist voters from race guilt; allowing them to vote for a Black while remaining resolutely racist. This tacit racist White demand is also an implicit command for Blacks to spend their lives seeking a White racist approval that can never really be obtained except by this emotional blackmail.

Wise also critiques racist Whites for wanting to believe Blacks insane by not listening to Their experience of White racism. They claim Blacks exaggerate, "play the race card" and want to blame Whites for Their own (Black) inadequacies – all of which are racist practices, in themselves. Wise marshals detailed proof of contemporary White privilege in such areas as income, housing, education, crime and health. All of which involve unequal treatment in systemic and systematic ways, not to mention the historical legacy of the belief that Blacks are simply inferior because They are Black.

Yet, Wise's thesis that the first Black US president could be more problematic for equal rights than beneficial is partly flawed by its own overstatement. Moreover, made imperfect by the fact that no other president has had to contend with his skin color being an electoral issue. It is this essential fact that makes White racism so overt and so easy to refute – as, indeed, Tim Wise does. However, the author's partial schizophrenia here is inevitable since he is dealing with White racists. They are, perhaps, the most schizophrenic of all the mentally ill; and when one takes a trip around the contents of their minds some of it is bound to rub off.

American Blacks and Whites live on different planets, socially, and it is therefore hard to imagine a meeting of the minds since attitudes are so profoundly entrenched on either side. Nevertheless, the book ends with a plea for Whites to take responsibility for institutional White racism (informal apartheid) since, whether they support it or are against it, They all benefit from it. Such White privilege is ultimately a White problem that Blacks need not solve since it is not a Black problem nor responsibility. Whites must learn to listen to Blacks since not doing so because They are Black is racism. Whites should promote anti racist Whites as heroes rather than guilty secrets, since They show what can be done with sufficient will. Whites should speak up when they see racist Whites since silence is the only privilege a White can voluntarily renounce – no White can renounce his skin pigmentation, after all. Whites must fully accept that the United States was built upon racism: African slavery and Indian genocide. Blacks must face these facts – and do – because not to understand the racial hostility that surrounds one (& to modify one's behavior accordingly [since one cannot change one's skin color]) is to put one's life at risk. Whites have never had to do this to survive so have never really understood their own culture – and have never really wanted to even when the evidence was staring them in the face.

Apart from anything else, the denial Wise consistently demonstrates explains why only racist Whites were surprised by 9/11. A clever, thoughtful book from an incisive, well named, public intellectual.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Wednesday 24 June 2009

Meantime
(1981)

80%

Satire on Margaret Thatcher’s Britain; especially upon palliative job creation schemes that even government ministers did not delude themselves into thinking would be anything but.

A boring life is on the dole so often leads to the devil making work for such idle hands. Examples include casual racism, alcoholism, domestic violence and drug addiction. The characters mostly choose to run away from their problems; while the problems of the unemployed and the unemployable are contrasted with a middle-class family that is materially successful but personally unhappy – largely thorough being childless.

As one would expect from Mike Leigh, this is a character driven drama presenting White middle class people as social snobs. They see the lower class as being fit only for condescension and as having fewer choices than they choose to offer themselves. Because LEIGH also thinks this, he is unable to overcome the very problem he points out, in others, in himself; making this movie deficient of any real solution to a very real problem.

Because the middle class lack any full understanding from experience of the lower class, this begs the question as to why they persist in making half thought out dramas like this. The middle class can well understand themselves, but not others, and that is partly the point here. Lower class actors help the director by fleshing out their roles from their own experience But, the presentation of the poor remains partly enfeebled by the very same patronizing and pretentious attitude being satirized.

The funniest scene in this movie is of a hippy social worker lecturing the poor on his personal philosophy of hatred of capitalism, rather than just arranging for their council house windows to be fixed. The satire here lies in the fact that such people wish to keep the poor beggarly by pretending that ambition for wealth is somehow unnatural. This keeps them crucially in his control since they then remain dependent upon his faux largesse: Like a bad mother unwilling to let her children fly the nest because she is lonely.

The two brothers here are opposites in nature as both go down different paths to grow up. They try to escape the enervating social conditioning that tries to keep wealth unevenly distributed in the land, as well as escape from awful parents who are quite unwilling to teach their offspring effective ethics.

All the actors here are nothing short of brilliant, especially because LEIGH is such a good judge of acting talent and dramatic ability. It is really only the superb acting that makes this drama watchable.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Tuesday 23 June 2009

Bolt
(2008)

RATING:60%
FORMAT:DVD

An interesting story about human relationships that does not get down to the practical details. It fails to fully analyze why so many of our Western myths come from television and are almost entirely incompatible with reality such that reality seems to contain nothing more than insurmountable challenges. These leave us nothing but frustrated and all the more desirous of the unrealistic pablum that so often passes for tv entertainment.

This Walt Disney picture emits the usual envy of the better movies that others make, yet manages to craft a story around the human need of fantasy that is kept constantly in check by the facts of reality. The script lacks any real humor - although it does try hard – and the action sequences lack any real emotional punch, until the very end.

The animation in these computer generated pictures is still not as good as what can be done by hand – it is only quicker – and most of the characterizations are not that good. And it is in cartoons that they characters must completely convince because one has to believe that simple drawings possess human emotions. Only John TRAVOLTA – in the lead role – manages to make his the dog who imagines he has super powers come to life and, in fact, all the animation effort is concentrated on his characters very agreeable body language.

Although this is a lot of uncomplicated fun, too many cartoons are being made in America, at present, with too few good storytellers around to ensure the quality does not decline. State of the art special effects are simply not enough, the stories are becoming lackluster and trite.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Night to Remember
(1958)

100%

A great movie that boils down the dramatic issues into two political challenges: The English class system; &, Man's hubris in not obeying the nature they are trying to command. With the latter, it is as if nature were out for revenge for anyone proclaiming anything indestructible and, particularly a ship, unsinkable. Much the same could be said about the present revolt of nature against the over exploitation of a resource laden earth running out of those very resources.

Stiff upper lips are in evidence here but so too is the fear (& the desire to completely succumb to that fear) that lurks behind them. Especially the fear of the passengers panicking when they realize there are not enough lifeboats for them all and the resultant potential need for firearms to control them. The sheer humanity of this story overwhelms the imagination and is nothing short of heartbreaking as wives are separated from husbands; children from parents during the ship's final hour afloat. One is alternately amazed at the quiet courage shown by many and disappointed by the cowardice shown by some; leaving one to wonder into which camp we should finds ourselves belonging should it happened to us.

The quiet stoicism of those who bravely face the inevitable is all the more moving for its quietness. Like all human disasters, it brings out the absolute best in people as well as the worst; while exaggerating their eccentricities. By deftly painting the characters in broad strokes through the expert screenwriting of Eric Ambler, the plot is clearly and efficiently rendered; making these characters into archetypes rather than mere stereotypes. This avoids mere tear jerking and takes us back to Greek myth and tragedy in their being characters that we can still relate to as if they were all too real. We are only told enough to either loathe or love them, nothing more; nothing less – so that the whole edifice is not destroyed by overblown melodrama.

By far the best film about the titanic disaster ever made or will probably ever be made. The talent in every department here is truly outstanding and it is impossible to find any significant flaws in this almost perfect production. It has not dated and the way in which the disaster unfolds is a model of how films like this should still be made.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Monday 22 June 2009

BOSTON LEGAL:
Season 4
(2007)

80%

Alan SHORE: Isn’t it grand… We do these things that seem completely absurd and then, incredibly, we manage to make them not only watchable, but fun and informative. Aren’t you just dying to see how we do it, this time? Yes, we certainly are!

This sums-up the series better than I can and Shore (deftly played by James SPADER) manages to be a cross between Atticus Finch (the lawyer in To Kill a Mockingbird) and Don Quixote and inevitably getting up most people's noses in the process. Still tilting at windmills in condemning the death penalty, protecting Black defendants from the institutional racism of the US legal system and, most of all, condemning the inherent bigotry of organized religion.

This is the best of contemporary television viewing at whose core lies a profound deliberation on the nature of male friendship as well as the essential humanity inherent in the concepts of Tolerance and Acceptance. This friendship is explored despite the difference in their ages and political outlook. Much of the dramatic conflict here is between love and work; friends and career.

The characterizations and style moves with disarming ease from the distinctly surreal to the tear jerkingly poignant; with plots deriving straight from newspaper headlines. This is especially true concerning the current moral crisis in the USA concerning its failure to respond adequately to 9/11 – or to even truly want to understand the foreign policy implications of such an event. Instead a kind of running around like headless chickens mentality prevails and anyone who disagrees is labeled un American, unpatriotic and has their telephone tapped. This move towards an effective police state is well represented throughout this comedy drama series. Yet, this show - itself - proves not all Yanks believe that such a state of affairs is the best and most sensible path forward – especially in the long run.

The phrase that also best describes this series is: Many a true word spoken in jest. Approaching difficult subjects with humor offers insight into jocularity's true purpose.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Sunday 21 June 2009

BILL BAILEY LIVE:
Cosmic Jam
(1997)

RATING:40%
FORMAT:DVD

A comedy fest that is not really all that funny. It is not actually about much at all and so never really touches upon the wellspring of all great humor: Fear.

There are jokes about jokes that lack content so much so that the form must suffice as the source of laughs. This is like a tv advert trying to tell us something important about our lived reality rather than simply trying to sell us goods and services!

BAILEY looks like he has taken too many non prescription medications in his lifetime to have really experienced anything else that he can more effectively satirize or parody. He is thus left with little else other than drug induced fantasies and hallucinations masking an inability to grow up. He is stuck in this rut because he is unable to get over his adolescence; making his performances undisciplined and self indulgent rather than genuinely surreal.

BAILEY's musical skills do not compensate for his comedic shortcomings since they also reveal a man with limited life experience outside the druggie subculture. He is no Victor BORGE and his occasional flashes of brilliance serve to emphasize his essential mediocrity while desperately feeding on (& off) it. Once he overcomes this self induced personal trance – he often seems drunk in performance - he may one day produce far superior material.


Star is Born
(1954)

40%

Svengali like love story in which both Judy GARLAND and James MASON lack the necessary sexual chemistry to convince.

GARLAND essentially plays a version of herself with a name (Esther Blodgett) as unglamorous as her own birth name: Frances Gumm. MASON performs most of the acting honors - as a tortured alcoholic – to make up for GARLAND's deficiencies in this area; while she delivers mediocre songs with an albeit fine singing voice. The dance sequences are often very good and surprisingly imaginative but, this is still quite an unnecessary remake of a much better (1937) film that only works at all because of the star quality of the leading players.

All this movie really has to offer is the self indulgent pretence that Hollywood is emblematic of the American Dream that talent and hard work will out when experience tells us this is not how the world really works. The Tinseltown domain shown here is profoundly insular. Talent is all too easily wasted and, therefore, everlastingly nascent; where unresolved psychological issues rule the day – and the night – and an obsession with form over content leads to chemical addictions and, ultimately, madness and death.

But the ostensible themes of the movie are not fully explored and the characters remain flat and lifeless; making this Hollywood treacle at its most dramatically cloying and emotionally dishonest.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Saturday 20 June 2009

BLIND SPOT:
Hitler’s Secretary
(2002)

RATING:100%
FORMAT:DVD



An intriguing document about the very worst effects of White supremacy from an articulate old White lady who is not in denial and still in possession of most of her wits and memory.

One of Adolf Hitler’s personal secretaries, Traudl Junge’s fascinating reminiscences make her an articulate and expressive historical goldmine. We see Hitler as a likeable man in private: The human being behind the monster we simplistically prefer to see for fear that we might see that he shares some characteristics with ourselves. Only with hindsight is she perspicacious regarding her former employer and the youthful political naivety that led her to work for such a man.

All racism presents a blind spot (against the incursions of reality) in refusing to see the wood for the trees. The stillness at the eye of such a hurricane allows one to evade the fact that racists exist within a self created political and emotional tornado. Volitional ignorance protects those who trade on unearned racist privileges; offering a continuance of racism in all but name. Nevertheless, ignorance is no excuse, and Frau Junge’s well earned depression when she learned of the Holocaust resulted from a silent complicity with evil that she has spent a lifetime coming to terms with.

This is the most fascinating talking head you will ever see as well as a great insight into how institutional racism actually works. It does not fall into the trap of exonerating Germans for the Holocaust by making simplistic statements about it being all the Nazi’s fault. After all, the suppression of the conscience that was necessary to enable the murder of so many was entered into willingly by millions of ordinary Germans and other Europeans.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Lion in Winter

(1968)

80%

An amusing history lesson that cleverly uses ironic degradation and understatement (unlike Shakespeare) to show the often lowdown human side of great historical events among and between queens and kings. It helps as well that the actors are all very good – especially an instinctive comedienne like Katherine Hepburn – and that the script is humorously venomous. Hepburn completely outshines the British, Royal Shakespeare Company cast - so much so that her American accent does not jar the ear for a second. She also has the funniest lines, which she delivers with comically-timed skill: 'Well, what family doesn't have its ups and downs?' almost to camera after one particularly murderous and invective laden shouting match with Peter O'Toole's Henry II.

Because it reduces history to the story of a thoroughly dysfunctional family, we become more emotionally involved than we would otherwise be in the story of the struggle for command between Henry II's three sons as to whom should inherit the throne of England. Because the king can choose an heir, rather than merely accept the eldest child, this leads to the infighting that is the springboard for the drama. This tale thus becomes a more intimate study of both political power and power politics, where lust for domination is ultimately a solace for lack of parental love – how unlike our own dear royal family today!


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Petulia
(1968)

80%

Here is represented a soulless, emotional repressed world where people simply cannot relate to one another effectively. Sex obsession, casual racism, alienation, boredom, topless waitresses, the generation gap and physical abuse are just some of the issues touched upon in a movie with an uncommon narrative style. The story starts at both ends and works its way slowly to the middle.

White, Western culture is shown as being in psychological meltdown, yet the underlying causes for this are never clearly stated – only implied. No solutions are ever offered for this as people talk about their emotions rather than genuinely experiencing them. It is as if they were talking about someone else's life along the lines of "This friend of mine has this problem…" They thus never learn from their experiences, learn not to repeat their mistakes and, so, to actually grow up. They behave as though emotions were a nasty rash that should be smothered in ointment and hidden from view. All of these inter and intra personal conflicts are set against the background of the much greater conflict in Vietnam; symbolic of the West's tendency to export its unresolved issues overseas.

Despite the often-confusing plot structure, this is an engaging and superbly acted movie about what can go wrong with our most intimate selves. George C SCOTT is particularly good as the character we most identify with yet is completely at a loss as to how to feel. There is a lot of desperation and need on show here but precious little love. The sole mistake the film makes is in trying to evade the very issues it raises by showing how alienating the built environment in the West can be, as if that were the sole reason for widespread anomie displayed.

A brilliantly depicted rendering of a particular social setting that does not get beyond the surface details as much as it should, could or might have done. Yet, this is a more accessible version of an Ingmar BERGMAN movie where the visuals tell the story more effectively than the dialogue. Where the emotional violence is as palpable as the actual bloodletting is visible.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Intolerance
(1916)

80%

A highly schematic narrative leaves the characters in these four interwoven tales somewhat overwhelmed by the topflight production values and some virtuosic technical feats. The sole exception being the rather moving story set in modern (1916) times of a man wrongfully convicted of murder and about to hang.

This movie comes across as something of an apology for director David GRIFFITH's previous racist work Birth of a Nation. But, the contrition rings hollow since GRIFFITH is only really concerned with the mechanics of storytelling than with actual thematic content, the latter of which he seems to believe will work out all by itself.

Even so, the spectacle is colossal as it switches – somewhat arbitrarily - between time periods. The most visually impressive is the tale set in Babylon – a film in its own right – which is a stunning mixture of massive sets, picturesque eroticism and gory battle scenes; prefiguring what would become the norm in Hollywood nearly a century later.

Where this film really scores is in the fact that GRIFFITH makes females the core of his storytelling. The tomboy warrior Constance TALMADGE and the sad eyed Mae MARSH, in particular, excel in their main roles of Mountain Girl and The Dear One, respectively.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Monday 15 June 2009

Rio Bravo
(1959)

100%

Thematically, this is a movie about quietly asserted manhood, self esteem, male bonding, personal maturity and professionalism: 'Think you're good enough?' A character driven masterpiece about ethics and morality where it is not enough to be tough, you also have to be right and you also have to be good. This is the quintessential Western that distils all of the qualities Western fans love about the genre into a single viewing experience: A meritocracy of men – not boys - where only masculine ability counts and women know the difference.

In plot terms, this focuses on an alcoholic – played brilliantly to type by Dean MARTIN – and his ongoing and essentially self indulgent struggle with his self doubt. The question throughout the movie is, will he beat his demons or will they defeat him?

John WAYNE's trademark gait is like that of a cat - if it walked on two legs. Meanwhile the leggy Angie Dickinson is excellent as his female foil – a combination of feral femininity and masculine toughness that director Howard Hawks always liked in his leading ladies. She is completely convincing as a woman who could soften the rough edges of WAYNE's character.

Barchester Chronicles
(1982)

100%

Donald PLEASENCE gives perhaps the best tv performance ever as the essentially good Septimus Harding. Despite the oft repeated Hollywood claim that the devil has all the best tunes, PLEASENCE manages to make a good person interesting. A 'good man adrift among sinners'; a 'true Christian'; & a 'man suffering from persistent bouts of Christianity'.

The other actors (Geraldine McEWAN [imperious] & Alan RICKMAN [supremely oleaginous], in particular) show quite clearly that evil is as not as glamorous nor as rewarding as it is usually cracked up to be – and you despise them both, unconditionally, for it. This is subtle and brilliant stuff, very much in keeping with the spirit of Anthony TROLLOPE's first two Barchester novels: The Warden & Barchester Towers.

Not a single false note is detectable here in this satire on morality, religion and the law. The zeal to be ethically correct conflicts with important personal relationships from which much of the drama springs. Nigel HAWTHORNE is especially excellent as the hysterically amusing archdeacon who has a constant struggle to rein in his open dislike of anyone who criticizes him – alternately fuming and then expressing Christian pieties with relish. Everyone is good here, in fact, and more special mention should be made of Janet MAW as the perfect incarnation of Harding's morally scrupulous and high minded daughter.

This is a world-weary critique of the worldly ambition that is nothing more than an absence of genuine ability. The plot and style are reminiscent of Dickens, but with less over the top characterization and profounder insights into human nature. The only real disappointment here is that the BBC did not opt to go the whole hog and adapt every one of Trollope's Barchester novels.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Wrestler
(2008)

80%

This film contains a lot of simplistic and repetitious doubling. Wrestlers and lap dancers whose common enemy is aging. Both walking through corridors; mirroring those they traverse to get on stage. The lead couple quitting their jobs because of a lack of fulfillment. Mickey ROURKE playing a character who, like the actor himself, is staging a comeback. These are what give the film its emotional juice and make it worth watching.

That Rourke and Marisa TOMEI are brilliant performers is hardly worth stating – they always were. They play nascent lovers whose jobs are based on fantasy, but who are still going in opposite directions - despite their similarities. ROURKE plays a martyr who knows he is martyring himself, as the movie's referent comparison to Mel GIBSON's Passion of the Christ demonstrates – but not why he is doing so. However, although such things as the camaraderie of the gym are well shown, this movie never fully gets over the lack of insight into why the social milieu shown is the way it is. That, and the sluggish pacing, makes it something of a tourist travelogue of the lives of others.

Ultimately the central character has the problem that he cannot separate everyday life from his fantasies - as so many of us eventually learn to do. This causes all of the relationship problems he experiences - with his estranged daughter and would be lover - that he fully recognizes as being his own fault.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

P’Tang, Yang Kipperbang
(1982)

80%

A movie about first love and first sex, as well as being a good example of why the UK’s education system has so systematically failed to meet the needs of a modern nation state.

This is charming, funny and well-written in that it gets the playground sensibility of the lies, misunderstandings and downright ignorance about sex. The boys here rely, instead, on a fantasy world that helps solace them their shyness, an obsession with cricket and/or an invented gang language.

Ultimately, the psychological insights eventually come to resemble a Peanuts comic strip. The 14 year olds start talking like adults reminiscing about when they were 14, rather than the actual statements children that old would actually say to one another. Nevertheless, no one said it was stylistically realistic, I suppose?


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Postman Always Rings Twice
(1946)

60%

John GARFIELD is a great coiled spring of an actor because you never know what he is going to do next - but you know that it will be right. The original antecedent of all the Marlon Brandos, the James Deans, the Robert de Niros and the Al Pacinos and just as good as any Method actor working today. However, this movie is somewhat overrated – despite the presence of said GARFIELD.

The direction is strictly journeyman stuff and Lana Turner's melodramatic acting style is odd and out of place in contrast to GARFIELD's more realistic, Stanislavskian style. This is exacerbated by the decision to make Lana Turner fit the blonde bombshell stereotype that does not truly agree with her. She has great, long legs but is a more intelligent actress than that; raising a credibility issue about the couple's sexual relationship and the reason for its existence. Her couture is also an issue in that wearing white - most of the time - makes her look more ghostly than the lustful and pseudo pure image required for the part. A strange piece of miscasting that almost - but not quite - works.

Yet, despite all of these reservations, the moral poison of their joint murder does destroy their relationship in a very convincing and involving way. This leads to the most suitable retribution at the film's end that also makes an emotionally satisfying conclusion for the audience.


BOSTON LEGAL:
Season Three
(2006)

80%

This series gets the essential boyishness of male relationships in White culture and the almost sexual jealousy of not wanting to share ones best friend with another man. The male bond is a rare one and often self mocked here as crypto homosexual, yet you cannot truly have more than one best friend.

Moreover, there is a warm blooded humanity at work that deals with people qua people - without the quintessential falseness of Political Correctness. Additionally, this season makes more fun of the White tendency to judge others solely by appearance than was previously the case, especially when those others are in any way different – culturally, religiously, physically or nationally. The drama thus delves into such issues as disability, ethnicity, gender, religion, sexual preference, etc. This makes for good tragedy and comedy that is – paradoxically – as diverse as the fictitious legal firm here (Crane, Poole & Schmidt) is not: An ironic comment on such non diversity.

Although running out of ideas now - given that some are repeated from the first two series - this is still superior tv that deals with real world issues in a funny, realistic and engaging manner.

Saturday 13 June 2009

Young at Heart
(Young@Heart)
(2007)

60%



Rather mediocre documentary with no true underlying theme. It contains no real understanding of old age and the condescending narration does not help matters much. We learn nothing of value and the people interviewed remain affective ciphers.

Where it scores is in its being very funny about the fact that 'No one gets out of this life alive!' Indeed, two of the performers die while the film is being shot; but this does not deter the remainees from going on – in memory of those who passed on.

And there is also no getting around the fact that the sight of octogenarians belting out rock 'n' roll numbers is both extremely funny and life affirmingly tear jerking - in equal measure. The sight forcefully reminds us of our own mortality in a way that words cannot fully fathom nor describe. These choral performances are such fun that it becomes a mite churlish to point out the film's many flaws – so I shall stop right now.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

PLAY FOR TODAY:
Abigail's Party
(1977)

80%

A typically mannered comedy of manners from Mike LEIGH in this portrait of a parvenu, White, petit-bourgeoisie that is irresistibly funny. It is also cringe-makingly embarrassing because of the inevitable one-upmanship, emotional repression, social awkwardness, condescension, racism, etc. The balance between tragedy and comedy is a fine one, but here works very well.

Under the surface, here, there is a profound rage for something better that the characters lack the genuine will to find, so instead they take it out on each other. This is more of a parody than a satire of repressed emotions since it posits no solutions to the profound political problems explored. It takes a little too long to get to the point as the various temperaments get drunk and reveal their psychological dysfunctions. The characters are running on empty to stand still in their being volitional talentless mediocrities trying to find solace in social snobbery.

Alison STEADMAN is quite brilliant as the lower-class woman with social aspirations who cannot hide her lack of sophistication while simultaneously believing she is both glamorous and the life and soul of the party. She is clearly none of those things and her shrill self-importance reveals a tactless and insensitive person who thinks she is hilarious yet who forces herself on others. She inanely believes those who refuse anything from her are simply refusing to enjoy themselves - and have we not all met people like that!

Her husband is no better since he is obsessed with the idea that hard work is the main reason for success while deriding the lower-class (from which he came) and non Whites regardless of how hard they work. To him both are the wrong 'class of people'.

The entire cast is, in fact, supremely excellent.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Room at the Top
(1959)

100%

Each Man Kills the Thing He Loves

Lower-class chip on the shoulder type – well played by Laurence HARVEY – nevertheless possesses the necessary moral toughness to succeed. Yet, inside, he is as ultimately timid as the social snobs he so vigorously opposes; making his victory more material than spiritual.

The feline sexuality of Simone SIGNORET steals the show as HARVEY's doomed older lover. She is an actress who can say so much with so few physical movements that she appears not to be acting at all. Her stillness masks the anguish and torment of a woman torn between a loveless marriage and a restless lover whom she knows will eventually trade her in for a younger model.

The film successfully explores the paradox of trying to disregard class consciousness by being very class conscious itself. Its endless talk about how old fashioned class consciousness is proves how pervasive and how difficult to overcome it really is.

This extremely well-cast movie grabs you from the very beginning and never lets up. Even the smallest role is played by someone who was to become more well known later: Miriam KARLIN, Prunella SCALES, Wendy CRAIG, Derren NESBITT, et al. All of the scenes are properly blocked and so all the more tense and exciting; while Jack CLAYTON's direction brings out all of the emotions of this superior melodrama. Excellent entertainment for grown ups.

Ordet
[Word]
(1954)

100%

Faithful film about a lack of Christian faith become religiosity. Shot in continuous takes, this is like watching a stage play where style and thematic content trumps mere characterization to make the film, itself, its own character – the actors merely facets of this one persona. The slow exposition and plot development work very much in its favor to cumulatively build towards a dramatic and spiritual climax that lingers long in the mind.

This movie is also a critique of gloomy death worshipping Christian fundamentalists who focus the bulk of their energies on the afterlife rather than this life. They do not so much love God as hate non believers; accurately reflecting the ongoing religious conflict between the different denominations and their differing interpretations of biblical scripture. That belief in earthly and fleshly miracles is required for such pseudo faith proves its falsity as well as its spiritual emptiness and shallow materialism.

Fascinatingly, this movie suggests that if Jesus Christ returned to earth, he would be regarded as a schizophrenic. This is an ascetic work of quiet and simple grace; an emotionally draining experience that is more than worthwhile: Nothing short of a cinematic miracle in its own right.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Thursday 11 June 2009

Céline et Julie Vont en Bateau
[Céline & Julie Go Boating]
(1974)

80%

An oddly surreal look at female relationships and feminine fantasies. This is a cinematic progenitor for a film like Susan SEIDELMAN's Desperately Seeking Susan. One character is a bored librarian, the other a magician. The former sees the latter as a model of feminine freedom and independence that she aspires to herself but lacks the psychological wherewithal to purchase. This is a tale of a free spirit and a repressive who enter their own wonderland that is strangely like our own.

This is not so much a shaggy dog story, in itself, as a shaggy dog story about monumental shaggy dog stories. Emphatic actresses, Julie BERTO (Céline) and Dominique LABOURIER (Julie) cleverly perform this with a great deal of structured ad libbing. The girls are adorable and their obvious chemistry works to the great advantage of the film. This is the superior flip side to John CASSAVETES Husbands, in mutual female admiration never coming more mutual and more admiring.

One is clearly forced to take a lot of the tale on trust in the absence of any evidence as to the veracity of what's on offer since both characters possess magic sweets that, when sucked, transport them elsewhere. But this "elsewhere" is just like real life and thus becomes a disquisition on the reliability of memory, especially regarding sensitive emotional issues, because their "elsewhere" seems to be what actually happened to them. Spiritual twins, the two girls briefly swap roles to better understand one another as well as live out their dreams.

This is also a film about the act of watching films. We are constantly reminded we are watching by the sheer length of the film as well as the often-stilted acting. And the film the two girls are intermittently watching places them alongside us as an integral part of the audience we are. The too many repetitive scenes before the mystery is finally solved spoil what could have been a masterpiece but, like all the best surrealism, this dream is firmly rooted in reality.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.