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gknysh
Reviews
3:10 to Yuma (2007)
Distinct masterpieces
This is NOT a genuine remake of the 1957 classic, but an entirely different movie, which introduces a large number of original elements(e.g. Peter Fonda as the grizzled bounty hunter, the mining camp incidents, the proactive 14-year-old son of "Dan Evans", the dangerous trek through Apache country, etc.,etc., etc.), lasts noticeably longer, and changes some of characters of the Ford-Heflin Yuma almost beyond recognition (the tortured and lame ex-soldier Evans (Christian Bale) of 2007 is quite different from Heflin's solidly sympathetic 1957 farmer, and "Evans'" 2007 wife has practically nothing in common with the luminously moving "Alice Evans" of 1957 (Leora Dana), while Russell Crowe's violently psychopathic second-in-command Ben Foster (much admired by most commentators for his performance) is worlds apart from the coolly pragmatic thug played by Richard Jaeckel in 1957. Ford and Crowe are closest as "Ben Wade", though the latter's exudes more quiet evil (as well as more talent and mystery) and seems occasionally far more Machiavellian.
That said, both movies were extremely enjoyable experiences for me (I played my DVD of the 1957 film a few hours after watching Crowe and company at our local cinema,and went to sleep with much contentment thereafter). The first Yuma was and remains a classic, deservedly so. Will the second Yuma become one? It could, if some of its ambiguities are satisfactorily resolved by critics and viewers alike.
Rapture (1965)
Fantastic
This was one of only two films that touched me to the deepest (the other was "A Summer place"). For years after I first saw it in 1965, this was my "all-time favourite". It was absolutely perfect in all respects: the cinematography, the incredibly moving Delerue score, the performances by Gozzi (better than her memorable "Sundays and Cybele" of three years previously), who subsequently all but disappeared from view, by Melvyn Douglas, Stockwell, and Ingmar Bergman regular Lindbloom, all of this blended together into such an emotionally satisfying package that even today I think back to it with trepidation (there's just so much one can take)... I really think there should be an Oscar category for "unaccountably neglected masterpieces". "Rapture" would get one hands down. If you have the chance to see it, just watch for the terrific contrasts between the moody seaside cliff and mansion scenes and the vulgar, brash, city noises. They are a splendid metaphor for what you get and what you long for. The experience will haunt you for always.
A Summer Place (1959)
Unforgettable
I saw this movie as a teen in January 1960 and was totally mesmerized. So much so that I returned to watch it eight days in a row... It was so incredibly right for me at that time. Sandra Dee became like my goddess. I learned the dialogue practically by heart. I saw it again on DVD after 47 years. Very moving reminiscences. As the scenes unrolled it all came back, word for word. Few people seem to realize BTW(as to the music) that there are really two major themes in the film: the young love theme, which you hear for the first time around minute 15 (when Sandra is shown around the estate and its garden), and which while quite wonderful is relatively muted in comparison to the pop version (which should have somehow been included in the special features). And the quite different, and superb, main theme (slightly less than 2 minutes long) which opens the film. Frankly, in the context of the whole story I prefer the latter. The message of the movie remains as compelling as ever: there is nothing stronger than love, and love conquers all, or should. You bet! I don't know of any film which says it better.
The Good German (2006)
Fabulous Retro-Noir
As of the time of my evaluation (which was a 10), some 26% of recorded viewers had given this movie a 10, and almost 18% a "1". Which clearly meant that this disturbing work was not for everyone. I think the "females under 18" (cf. demographic breakdown) have got it right, with their collective 9.3 (so says a "male over 45" (:=)). This is a masterpiece of Retro-Noir, with absolutely fantastic cinematography, great score, gripping storyline with step-by-step resolutions, and solid all-round performances from the cast, though the only genuinely Oscar-worthy efforts are by Blanchett and Weigert. Why then so many "1's" or even "3's" and "4's'? As to the latter, I suspect it's plain idiosyncrasy: to criticize "The Good German" because it "reminds one of other films" is akin to dismissing "Chinatown" because of "The Big Sleep" or "Platoon" because of "Apocalypse Now". The numerous "1's" are a more delicate matter, probably due to overblown political correctness on the part of older viewers. Cate Blanchett is a potent "femme fatale", a most original motivational study by film noir standards. But her character's crimes coupled to her film identity are simply too heavy for some people of a prior generation to swallow. There's nothing to be done here, I'm afraid. There were indeed such Lenas, and denial won't make them go away.
Nuovo Cinema Paradiso (1988)
Overwhelming emotional experience
Let's just say that I would have given this masterpiece a 15 if that were possible. It has absolutely everything, in all areas and dimensions, and the 250 plus commentaries have said it all or nearly all. I agree completely with those who believe this to be the most romantic love story ever filmed, ever. Let me add one observation. The structure of the Director's cut allows you to complete matters in a way which would have derogated a bit from the absolute excellence of the theme had it actually been pursued. Salvatore's final comment after the parting telephone conversation, the promise rediscovered in the dusty operator's booth note, and the inexpressibly moving montage from Alfredo tell it inescapably.
Caché (2005)
Politically correct claptrap
Somehow we're supposed to believe that a "sin" committed by a 6 yr old child ruins the life of another child (most conveniently of a "disadvantaged" class), who, some forty years later, gets his revenge by an act of self-immolation which is supposed to play on the "guilt feelings" of the "sinner" and involve his entire family in the retribution. This is an atrocious film, with no believable story line, and assumptions more in line with Freudian dream sequences than any kind of reality. It is actually addressed to the feelings of a particular hyperliberal masochistic audience,and is designed to confirm its general guilt-ridden attitudes towards life. A crashing bore. The best performance is by a supporting actor who relates the story of an old woman who believed him to be the reincarnation of her dead dog...Total waste of time.
Æon Flux (2005)
Terrific action movie
I've not seen any of the material "Aeon Flux" is supposed to imitate or replicate. And I like science fiction generally. I found the movie to be a fast-developing, hugely entertaining experience. It had everything I expected and more: excellent plot (if anything it reminded me of Jack London's 'Iron Heel', mutatis mutandis), absolutely believable characterizations, wonderful special effects, exciting score, and fairly profound philosophical thematics amidst the furious resolutions. It's nice to know that the politics of the future closely parallel those of recorded history, and it's even nicer to be assured that clones will not inherit the earth... Every performer rendered an adequate (and frequently more than adequate) presentation of the persona they were intended to convey. Above all,this film once again confirmed the exceptional thespian talent of South Africa's greatest artistic export. Charlize Theron plays her Aeon exactly as one would expect, totally in accordance with the unfolding story line, from near robotic super killer on a mission (with sister love the only observable positive quality) to revitalized, vulnerable yet tremendously strong woman as she recovers her identity and acts upon it. She won't get an Oscar nomination (Aeon is no degenerate). But she absolutely gives a performance worthy of her stature. This movie is better, to my mind, than anything comparable in the Matrix series, with a much more exhilarating message. It definitely goes into my DVD collection eventually.
Boxing Helena (1993)
Boxed in by mother -love
Like all Lynch films (and daughter follows father's technique totally) this one requires multiples viewings (at least two). Surprisingly, none of the commentators seem to have gotten the gist of it, although this is not too difficult to grasp, given that the symbolism, while occasionally complex, is not that obscure. A couple of brief tips should help. Venus= Marion (for the obtuse this is only apparent at the very end), and Helena= Venus. The three scenes in which Marion appears (two of them nude or semi-nude) are a give away, as is Helena's reference to Nick as a "little boy" (confirmed by his behavior). The only "mystery" in this absorbing study of incestuous obsession is whether Nick and Marion actually did the deed. And the answer comes in the latter part of the "dream" (when "Helena" teaches Nick, on whom she have finally taken pity, how a woman ought to be properly loved). Nick's real life love interests are a disarticulation of Marion, with Anne representing her loving side (and very similar in physical appearance) while Helena (wonderfully played by Sherilyn Fenn) is the bitchy slutty yet ultimately redeeming side. The storyline recounts how Nick "copes" with the loss of Marion after her death (not very well), but there is no resolution of the problem. Once you've gotten the basics though, it's fascinating to see how elegantly and delicately this psycho-deviation is treated. Nothing is superfluous, and everything fits. Even the "dream", which is part fantasy, part reality, part prophecy. The film is not a masterpiece, but it is very well done. See it again with the correct perspective.
Le mépris (1963)
A finely crafted masterpiece
Bardot's magnificent performance as Camille Javal [she was so good that her character's name was later believed to be her real name!], wife of the aspiring screenwriter Paul (nicely played by a young Michel Piccoli) merely confirmed what Clouzot's "La Verite" (1960) had already established, viz., that B.B. was a highly talented actress and not merely a lovely sex kitten pimped by ex-husband Vadim to titillate the fantasies of horny international audiences. "le Mepris" ("Contempt") is a jewel cut by France's leading "Nouvelle Vague" director Jean-Luc Godard, and intended (says his outstanding cinematographer Raoul Coutard) as an apologetic testimonial to Godard's estranged wife Anna Karina. This is a film about film-making in the 1960's, and about the stresses on personal relationships provoked by the pursuit of cinema's world of illusion.[the presence of the great Fritz Lang playing himself authenticates the theme]. Paul Javal (his constant wearing of a hat is the clue to his partial representation of Godard) is a man whose artistic sensibility and individuality have yet to be shaped, and who uses Camille as an instrument to achieve self-identity. But Camille is a goddess, a force of nature, and her total love for Paul slowly disintegrates in the course of the creative "mind games" he selfishly makes her endure. (One such is the marvelously erotic opening scene with the softly voices enumerations of her physical assets by a nude Camille: that this is a "game" is shown by her query to "director" Paul whether she should rise on her knees to continue...There are many such indicators throughout the film. See for instance Camille's fleeting smile ar Paul in Prokosch's garden at minute 26:28.)As the story unfolds, pretended reality is remorselessly transformed into "real" reality, and Camille's staged contempt into an actual rejection of a husband who is revealed to be a spineless wimp ("You are not a man" at minute 1:35:19). The accompanying change of Camille's initial dislike of the energetic and crassly domineering producer Jeremy Prokosch (Jack Palance)into a recognition that this equally potent "god" and force of nature is perhaps worthier of her attention than her hapless husband is also delicately presented by Godard (There is a fascinating scene near the very end where Prokosch shows how his personality is being positively changed by his attraction to Camille, and how he yearns to acquire a gentler image to please her.) But the film is a tragedy on more than one level, and a fatal accident in which both Prokosch and Camille lose their lives prevents any resolution or even development. This is a profound film which needs to be viewed many times, with increasing understanding and appreciation of its complexities. The photography is stunning (esp. the Capri shots), and the wonderfully haunting score by Georges Delerue only increases our viewing pleasure.