Every once in a while I am reminded that cinema is the product of, among other things, a combined experience of the art forms that preceded it. This is one of those times. The climax of this film is, undoubtedly, Scarlett Johansson's Griet as a virtual cinematic copy of Vermeer's title painting. She was able to convince me that the story told was true, and that this is how the great painting was produced. For those who would dub it an "art movie"-it is. And, as most of the great art, it's not for you. Those who love art-come and see... Most other performances, particularly that of Essie Davis as a lewd and crass "patron of arts", are worth watching by themselves. Davis character makes everything that he talks about seem utterly dirty and oozing. And, of course, there is the cinematography, which may have shown us that, while Rembrandt and Vermeer are dead, there are those among us that master light, form, and content as well, or perhaps even better, than they did. My only fear is that cheap imitations may follow. Already, HBO is running an absolute atrocious set of series about lives and works of great artists (Rembrandt, Goya, Degas, etc.) presented in a light and cheesy manner. I am hoping that The Big Screen will resist anything of the kind.
Reviews
15 Reviews
Lilya 4-Ever
(2002)
A dog's life is the Dogma's treasure...
22 February 2004
There is no hope if you are young and defenseless. Just kill yourself, and you'll go straight to heaven-that is the message that I got. However, the plot is slightly more interesting than that, although, as I stated earlier, there really is no hope and things will inevitably get from bad to worst. I must admit that I will never learn to appreciate Moodysson's cinematography. It annoys me as no other Scandinavian Dogma-95-influenced cinematography does. I actually believe that he tries oh-so-hard to prove to someone (God?Scandinavian audience?Lars von Trier) that this is the group he associates himself with. The acting by the first-time child actors is good, as it is in most Moodysson's films. And yet, the benefit of being able to understand Russian clearly demonstrated that a)those Russian kids are directed by a foreigner (duh), and b)their parts were not written by someone who is very fluent in Russian. Their performances were not wooden-but their delivery kind of was. However, most of the actors in this film were a pleasure to watch. Overall, 7/10, just for the skillful and honest (albeit, annoying at times) presentation of the tragedy.
The Butterfly Effect
(2004)
Dude, where are my limbs?
17 February 2004
Warning: Spoilers
If there was an Academy Award given to casting directors, this one would even be nominated only in a bad dream. To entrust a dark and moody character to Ashton Kutcher was an obvious mistake. To poorly direct him in such a role was the second most obvious. Normally, when someone wakes up only to discover that he is an amputee all of a sudden, it is dramatic and painful. Kutcher's expression brings to mind the sentence I used as a title of this comment. There are other, slightly less glaring examples of horrible miscasting. Is Kutcher to blame or perhaps it is the preconceived image of him that most viewers brought with them? I believe it's mostly the first. On another note, the concept and its treatment was actually fairly decent-except, of course, for the casting. Of all the individuals that Kutcher has "punk'd", the makers of "The Butterfly Effect" got it worst.
Koktebel
(2003)
Welcome back, Russian cinema.
10 January 2004
Good cinematography will only take you so far. However, amazing cinematography will carry your film by itself. And that's just the start...Acting is well above average, and the writing, although somewhat resembling the "Russian soul" in its mystique and lack of structure, nevertheless fulfills its duty: to get to the hearts of those who for some unknown reason would not find themselves enchanted by the visuals alone...
The Legend of Suram Fortress
(1985)
The legend continues-The Legend of Paradjanov
14 October 2003
In his first film since his release from the Gulag system, Paradjanov demonstrated that he was wounded, but not killed, that his soul didn't atrophy, and that he was still seeing in color. Needless to say, this is a visual masterpiece, as is everything that bears his name. Although his best works were either behind him or in his head, it is more of a testimony to the magnitude of his talent. Photographed in niello silver, "The Legend..." reflected Paradjanov's state of being-an aging and ailing artist, who have suffered, but, to some extent, lived to tell about it.
Straw Dogs
(1971)
Do you have it in you?
8 October 2003
Do you have it in you to kill several people and still keep your sanity? Sam Peckinpah thinks so-in fact, in my opinion, he thinks that you must have it in you. One may argue all he wants with the director's philosophy, but the fact remains: Sam Peckinpah is one of the most unique filmmakers America ever produced. At his time, he successfully forced people from all the walks of life to argue with him. Now, he is remembered by few-and yet, his life was not lived in vain. Because of his refusal to compromise his vision, he remains as a sort of a subconscious presence in the minds of those who did bother to familiarize themselves with his creative output. of all his films, "Straw Dogs" is the best one. One must see it, if only for a chance to argue with a very different but a very personal philosophy.
Wuthering Heights
(2003 TV Movie)
MTV, I beggeth thee: cease perverting the classics...
15 September 2003
Warning: Spoilers
A perfect little atrocity...I doubt if a single shot lasted for more then the reglamentary-MTV 4.4 seconds. Woeful casting, worse even than in Kusminsky's version (a reminder: he managed to miscast Juliet Binoche and Ralph Feinnnes). But, hey-the rich got what they deserved. Dark and brooding Heathcliff reduced to the state of a golden-locked angel, frail and angellic Catherine presented as a chubby, melon-breasted heffer, meek and weak Linton is a peeping tom, and innocent Isabel becomes Sara Michelle-Gellar's character from Cruel Intentions. 15-year old Eddie Bauer and Abercrombie and Fitch donners-take notice. This thing was made for you. It is an hour-and-a-half long music video where everything is given to you; you are saved from the uncomfortable necessity of not even trying to understand the complexity of the characters, but even from initial shock at their actions. The actors tried, but, as I stated before, they were miscasted. Decent photography, but editing is on the level of TV production class in high school. I implore you all: read the book, or the cliffnotes even; watch the previous versions of it, even Kusminsky's; but stay away from the numerous future reruns, during which you will not receive the benefit of the commercial-free premiere.
Great Expectations
(1998)
The good, the bad, and the...wait, there is no ugly here...
13 August 2003
I have heard a lot of negative remarks made about this film, mostly from the Dickens purists. They have said that this film reads like a badly abridged version of the original, and that several characters-mainly Finn/Pip-are cast in a different light. All that is true...yet this is still a very good film. Sensuality seems to be Cuaron's strongest theme, and anyone who have seen "Y tu mama tambien" would agree with me. Films are not judged as works of literature-and yes, I mean the screen adaptations of the literary classics as well. Cuaron made a beautiful film, and if in the process he had to alter the original story a bit, so be it. It is unfortunate that now he is too busy with yet another adaptation-the one of the worst kind-the one that cannnot be altered-the one he clearly chose to do for publicity and money alone, and in the process to be a prisoner of Azkaban himself (or, perhaps, a prisoner of Adaptcan). Nonetheless, I still believe that upon cashing his paycheck he will return to his theme, and will continue to give his viewers a world of sensuous beauty.
Requiem for a Dream
(2000)
A quick-cut fugue
3 February 2003
Although I liked "Pi"a little more (except for the ending), i have to say that I enjoyed this latest Arronofsky production. Besides the decent camera work and a super-dynamic editing, the plot is incredible-not one but four generally likeable characters are completely demolished in the span of 102 minutes.
An extraordinary movie from the land of bolsheviks...
16 October 2002
This is truly an extraordinary film, even for the Golden age of the Soviet cinema. Documentary footage alone guarantees this film a niche in history (Church of Christ the Savior before its demolition, parade). Kuleshov's masterful montage should surprise no one, since the term "Kuleshov effect" wasn't coined out of thin air. Acting is superb, especially by Khokhlova and Vsevolod Pudovkin, himself at that time only a few years away from directorial fame and immortality. The flaws of the film are minor, and are a norm for the films of the time. The strengths are enormous, and make it a true masterpiece.
Of Freaks and Men
(1998)
A freaky, if somewhat repetitive experience
30 September 2002
Of freaks and men is definitely an interesting film. However, it is predictable and repetitive. I guess, the only really interesting thing about it is cinematography. Repetitiveness, meanwhile, shouldn't surprise anyone familiar with the works of Balabanov, undoubtedly the most repetitive director of today.
Foreshadow...
6 June 2002
A foreshadow of things to come, which in its own right is a little-known jewel of Russian and world cinema...I would advise any beginning Tarkosvskologist to view this film twice: before and after viewing his masterpieces. Then, they'll understand...
Courier
(1986)
Combination of Shukshin's tragicomedy and Ryazanov's humor...
8 May 2002
I first saw "Kuryer" when I was 8. All I remember is the change of moods that it inspired in me--from tears of laughter to gloomy sadness. Were I born 6-7 years earlier, I might have very well experienced the dillemmas that confronted the young hero of this film...
Earth
(1930)
A masterpiece by one of the three great Soviet filmmakers...
8 May 2002
Recently I had a chance to view "Zemlya" by Dovzhenko. In my opinion, he ranks slightly below great Eisenstein, and the fact that he was a script writer as well as the director is clearly the main reason why I must also place him below Pudovkin. And yet...And yet, he took a piece of Marxist hogwash and made it a masterpiece...As for several selected shots, they place him on the level with Eisenstein and Pudovkin, though, as I mentioned earlier, he clearly lacks Eisenstein genius or Pudovkin's directorial skills
Mirror
(1975)
A delusion as beautiful as Lucifer's smile...
28 April 2002
"Zerkalo" is probably my favorite of Tarkovsky's movies-whic says a lot about the quality of the film. I believe that the Russian word "zerkalo"-mirror, is one of the most accurate descriptions of Tarkovsky's credo. The theme of the "home" and "family" exists in this movie stronger than in any of the other Tarkovsky's films. In "Ivanovo detstvo", Ivan is ruined the moment his family is killed. In "Andrey Rublev" the temple is the house. In "Solaris" Kris is guilt-ridenn on account of him being the cause of his wife's death, and in the end, like a prodigal son, he kneels in front of his father. The same guilt lays on the Stalker in the movie of the same name. In "Nostalghia" Gorchakov is dying of home-sickness, he constantly dreams of his home in Russia, and after death is rewarded by being taken to the home, placed inside a decreipt Italian temple in one of the most unforgettable shots in cinema's history. Finally, in "Offret", the hero becomes a sort of father for the whole world. But in "Zerkalo" family and home are presented as a foundation of human existence. Some scenes in this movie are among the most beautiful in cinema. Simply put, this film is something anyone who thinks and feels must see...
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