Reviews

Anyone who's familiar with cinema would have heard of the great Swedish cinematographer Sven Nykvist. A humanist toward actors and a friend to crew members it's obvious from his son Carl Nykvist's documentary Light Keeps Me Company, that Sven is a likeable guy.

Like most documentaries, Carl Nykvist's film is also chalked full of interviews of prominent actors, crew members, directors as well as, family members. While the interviews with such Swedish cinema luminaries as Igmar Bergman, Liv Ullman, Bibi Anderson and Harriett Andersson as well as, Americans Woody Allen and Gena Rowlands are entertaining, the dramatic arc of the documentary that touches upon crucial moments in the photographer's life proves more poignant.

However, the story of Siddartha that is narrated throughout the documentary tends to interrupt the flow of the dominant narrative. Yes, it's true that Nykvist's life parallels his favorite novel, but a little would go a long way here.

Light Keeps Me Company is a must see for cinema enthusiasts. It might even prove educational as well as entertaining for some viewers. Learn a little cinematic history and honor a great master of light.

Every film director should have the chance to indulge in their fantasies and films are fantasies projected on the big screen. However, Fellini's Roma is not a film for everyone and in order to enjoy this non-linear extravaganza, you must have a lot of patience and it doesn't hurt to be a fan of Fellini's work.

For those who do have patience, you can learn a little about Rome (although Fellini's Rome) and biographical information about the filmmaker. Although don't quote him, he does tend to reinvent his past from time to time. >

The Papacy fashion show shouldn't be missed nor should the scenes that portray Rome in the 1940's. But for those who lack the patience, but still like Fellini, check out Amarcord instead.

When most people think of Fellini, they think of his films La Strada or La Dolce Vita and 8 1/2, but the director's vast catalogue of films is worth checking out just to see a genius at work. Fellini's early and little known film, The White Sheik proves to be a cinematic gem that not only hints at the director Fellini would become, but also stands on its own as an achievement.

Part soap opera (read Mexican soaps) and part romantic comedy, The White Sheik leans towards surrealism and comic book camp (over 30 years before Kevin Smith created DOGMA). The premise of the story is that two newly weds, Vanda Giardino (Bruenella Boro) and her husband Ivan Cavelli (Leopoldo Trieste) honeymoon in Rome where Ivan hopes to make a good impression of his relations. Unfortunately for him, his wife sneaks out of the hotel room so that she can meet her comic book hero, The White Sheik (Alberto Sordi.

Shot in black and white, this film is gorgeous and surreal. The actors on the set of The White Sheik come across as gypsy or circus like. They sport tough attitudes and this makes a nice contrast to Vanda's wide-eyed innocence.

The White Sheik is technically Fellini's second film, but the first one in which he did not share directing credits. However, he did share writing credits with Michelangelo Antonioni, Ennio Flaiano and Tullio Pinelli. If you are a fan of La Strada and Nights of Cabiria then you must see this film.

The eccentric behavior of rock and pop icons usually take center stage in the media, but here's a classical musician and virtuoso performer that literally steals the show, both in achievements and lifestyle.

Glenn Gould popped pills, gave up performing live concerts because not everyone in the audience could hear the music the same way, created radio documentaries that mirrored symphonies and played the stock market like an expert. Glenn Gould was a typical hermit who only called people to talk when he was bored, he wanted to visit the arctic in the dark of winter and he donated his estate to charity.

He died from a stroke at age 50, but recordings of his music have been sent into space. Glenn Gould lives on in the hearts of classical music fans and those who have seen 32 Short Films About Glenn Gould.

Godard's film Masculine Feminine filled with random scenes sounds off like the gun shots that appear at the beginning of each of the fifteen scenes. Although the film briefly explores the differences between women and men, Godard spends more time exploring the social problems of the 1960's and the difference between Capitalism and Communism, not to mention his endorsement against the Vietnam War.

Violence plays a role here, but a detached one. Two suicides, two homicides and an accidental death occur, but the characters act matter a fact about these occurrences. In fact, the characters react more strongly to events in a movie. It's almost as if the filmmaker is saying that people react emotionally to characters in movies, but remain detached at real life events.

On one hand, the pop vocalist character proclaims that she is a member of the Pepsi Generation, but her boyfriend, Paul who is a bit of a revolutionary makes the statement that if a person murders someone it's a crime, but if an army kills 1,000's of people, they're heroes. These two characters get along because they both live in his or her own world and neither tries to pursuade the other to see his or her views. So there is no outer conflict between the two characters.

What's most interesting about Masculine Feminine is the way the director shot his actors in single shots creating a documentary style as the characters interview each other about their views on sex, love and politics. Unfortunately only the men had interesting comments about politics while the women leaned towards Capitalism and materialism. I find this a bit sexist.

This film was part of the French New Wave and so it is respected for it's innovative departure from films that actually tell stories. However, by taking the camera and sound equipment to the streets, interesting ideas are presented here.

I respect Godard for making the films that he wanted to make and for leading the French New Wave Movement, but I wish that I knew the point to this film. I expected a more profound film.

Speaking in Strings by director Paola di Florio explores the posh and cloistered world of classical music by presenting us with the "bad girl" of the classical music scene. In this film, Florio reveals the hypocrisy of classical music by revealing to us one of its most profound players, Nadja Solerno-Sonnenberg and all that the violinist endured in order to play the music she loves with total honesty.

Sonnenberg lets it all hang out in the film as her most private and vulnerable moments are shown in an expose fashion that is painful and rarely pretty. Sonnenberg shares her most painful and horrific moments in the film, everything from her bout with severe depression, to an injury to her finger that could have ended her career to her plight with a stalker who wanted to create the perfect race with her.

While it's true that Sonnenberg's willful and strong personality has provoked criticism among music critics and classical music audiences, it is this same strong will that has helped Sonnenberg survive many hardships in her personal and professional life.

What the filmmaker Florio has done through a compilation of interviews, archival concert footage, and Sonnenberg's television appearances is to show the rest of the world what classical music soloist endure in order to create music that is under appreciated in the United States. However, by revealing the story of one controversial performer, perhaps classical music can reach a new audience or at least garner attention from the same film audience that saw the film Hilary and Jackie. Speaking in Strings proves to be more provocative than Hilary and Jackie because it lacks pretenses and lets it all hang out.