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kurtrus
Reviews
Incubus (1966)
Art meets Camp -- Camp Art
To call Incubus camp or to call the movie art is a misrepresentation. Like the Truth, it is more complex. Incubus is filled with a stunning shot here and a well-turned phrase there that will capture the film fanatic. On the other hand, it is filled with stilted dialogue delivery here and a schlock "monster" there, too. As a result, it is hard to categorize.
It is altogether magical to see a young Shatner before he boldly goes where no man has gone before. You see his confidence, his exuberance, and his leading-man persona that will mark his future years. He does a fine job with Esperanto as a vehicle to deliver and develop his character.
Although the movie is intended to be timeless, the hairstyle, dress, and makeup of the succubus Kia harks back to the 1960's. Those brought up on 1960's television will recognize the B-movie background music done by a composer who wrote music for Outer Limits. And, the camera movements and actor blocking felt dated and mechanical at times.
I enjoyed hearing Esperanto and listening to the basic words for "thank you", "yes", "life", "love", "moon", and "death". It's interesting to see the choices made for such core words to compose the intended lingua franca.
All in all, a movie to be seen as a period piece when the world was young and idealism ran rampant. A movie that, given a chance, can touch those who haven't fallen victim to cynicism. And, for a few, a movie that tells us that our own demons can be won over if presented with higher values.
Moskva slezam ne verit (1980)
Small Theme with a Big Heart
Culturally interesting since this occurs in a Communist country that US propaganda gave little insight on the values and realities of the people. We see idealistic poets who say the older generation made mistakes, women promoted to executive positions, a film produced by the State yet approaching sexual themes, Western idolization, the drudgery of repetitive industrial work, and class distinctions between the haves and have-nots.
Also of interest is the protagonist's view of herself. Without revealing plot twists, it is suffice to say that a woman is socially seen as submissive to the man. This is a shock to Western sensibilities of women's equality, especially as we see her ordeals as a result of a man's selfishness and dominance. What is revealing is that she, herself does not rebel against the System. She works within the parameters, creates her own success, and becomes transformed.
Being Western, I found myself questioning whether she had truly achieved something. The crown of achievement, we are taught, is independence, equality. Whereas she achieved that in a career and in her lifestyle, in her heart, she yearned for a man, to be the little wife, and to submit herself to a patriarchal marriage. But, in the end, who are we to judge another's happiness?