Friday, November 25, 2011
Tuesday, February 8, 2011
731. Pervasive Gender Politics and Sexual Confusion Through Life
…Or Hey! You’re All Gonna Be in This Experiment Film
I am going to put on my pseudo-academic cap for a moment and discuss Je, Tu, Il, Elle, an experimental Avant garde film from Belgian-born Chantal Akerman. She would achieve international recognition for films like “The Rendezvous of Anna” and “Jeanne Dielmann,” (both of which are mentioned later in this list) but her auspicious debut is also a work of major note.
The film opens in the bedroom of “Je” (French for “I”) and features Akerman as the titular character. She is oft-nude throughout the film and examines her own body, its failings, and a recently doomed relationship. Throughout the film, she eats from a bag of sugar and contemplates her failings. The imagery is remarkably melancholy and depressing as she wanders from one part of her single room apartment to another only to return back to her original spot as a voiceover narration details her thoughts and movements. She gazes outside a large bay window but never leaves the confines of her room. The camera is always pointed towards her and looking outside the window so we are always in the same space as the narrator though we never see her view outside the apartment just the extremely poetic vision of her looking out.
The second major section of the film concerns “Il” (“he” in French). She leaves her apartment to hitchhike back to her former lover. Along the way, a trucker picks her up and the servile role she maintained in her apartment carries through to the cab of the truck. She gives the driver oral sex (shown off camera) as Il delivers a soliloquy on love and loneliness. The two characters form an immediate bond with each other based on the nothingness of their lives and hollow relationships. Both of the characters speak towards one another but do not truly converse and form a bond based on isolation rather than a true connection. Also, it would seem that the oral sex was a foregone conclusion though neither character wants to go through with it. It was not an act based on want or desire but from societal expectations. In the end, both characters part ways seemingly forgetting entirely of the other’s existence almost immediately.
The last section of the film concerns “Elle” (French for “her”). As Akerman arrives at her lover’s apartment, we see that her lover is a woman which would suggest that “Je” suffers from sexual confusion. What follows is a tense and at times violent love-making session filmed entirely in one static shot 15 feet from the bed. The passion and intensity in this scene would suggest that “Je” is gay rather than bisexual and the recent sexual contact with a man was based on an opportunity rather than something more emotionally tangible.
Akerman spent the whole film judging herself and basking in her own insecurities and faults though when reunited with her former lover, her life energy returns. She hugs her as if to hold on for dear life and the sometimes violent wrestling might even be allegoric and comparable to Jacob wrestling an Angel; the Angel representing Jacob’s own insecurities and struggles with faith. Though she is still wrestling with her own demons, the battle has become more passionate. However, the film ends inauspiciously as “Elle” leaves for work with the assumption that Akerman will leave never to see her again.
“Tu” refers to us, the viewers, as we watch the filmmaker’s journey through her own sexuality and loneliness. Perhaps Akerman wants us to reflect on the scared malcontent inside of us that exists from the inside looking out at the world. Her journey of self-discovery and love, albeit temporary was fraught with heartbreak, self-pity, wonton acts of forced carnality, and redemption though the films ends as it begins, with “Je” alone.
“Je Tu Il Elle” was a bold movie for first time director Akerman and it wasn’t just the nudity. To be nude on screen isn’t difficult but to allow herself to be truly naked, in the literal and existential sense is an enormous challenge. The movie wasn’t erotic or meant to titillate but to express intense overwhelming emotional desire. A recent parallel of such a role would be Riko Kikuchi in Babel, who was absolutely robbed of a supporting actress Oscar by Jennifer Hudson (whose performance in the truly awful Dreamgirls was passable, at best).
Akerman has spent most of her career making films about gender roles and small character studies of normal women. “Jeanne Dielmann,” largely considered a masterpiece and among the greatest films ever made, is an epic four hour film, shot largely in one room, about the title character who becomes a prostitute to make money to raise her son. No sex is shown in Dielmann and doesn’t need to be, as the statements of female independence from claustrophobic lives are strong enough. For her debut film though, Akerman, laid herself bare and expressed more emotions in 60 minutes than most movies show in 3 hours. It was an excellent hint of things to come and introduced to the world to a great talent and truly original mind.
About the Top 800 Project:
Using the They Shoot Pictures Starting List of 8800 films (LINK) and my Netflix ratings, I sifted through the list and of the 4500 films I’d seen, I selected a random number of films I liked more than the others. The list was about 812 films. I kicked off 12 to get an even 800. The list chronologically goes up to 2009. Each blog entry will list ten films, one of which will be discussed in detail. The ten films will then be posted toThe Top 800 Master List, a Google docs file compiling them. When the countdown finishes in what will be probably be a really a long time, I will begin discussing random films that I didn’t get to before.
Monday, January 31, 2011
745. Sneakers: The Obsession Begins
…or I Should Have Kept My Mouth Shut
It was on a Monday in 7th grade that my science teacher asked our class if they saw any movies over the weekend. Several students responded with what film they saw and if they liked it or not. When it came to me, I got up and proceeded to review a film detailing such features as the script, acting, and cinematography (while I didn’t know what that was, I had read in Premiere Magazine that it was a “coffee table award” at the Oscars). That movie I reviewed Sneakers, with Robert Redford and Ben Kingsley. So out of all the movies on the list, this forgotten and profoundly outdated cyber-crime film from the early 90’s, is the one in which I have the biggest personal connection.
That chance encounter in the beginning of the school year started a trend in which every Monday, I would give a movie review. This meant that I had to watch at least one movie a week and then put some thought into a review. By the end of the year, it was the highlight of my week and I started to write up my reviews for other classes and the school newspaper. Interestingly, I was recently digging through relics of my middle school career and found my English journal from that year. I saw as the focus slowly shifted from mundane details of my life to reviews of movies giving the beginnings of my love affair with film a clear start date.
The oral, weekly movie reviews continued through 7th grade into 8th grade and a few months into 9th grade (when my English teacher put the kibosh on it when double entendres took over for actual content). Though by that point, I had already taken up a column in the school newspaper to complain about the poor quality of films and hail art house and independent cinema much to the ire of my blockbuster loving classmates. Slowly but surely, I learned that I loved being hated for my reviews and that having an unpopular opinion and flaunting it was fun. I was already an unpopular kid and with the reviews, I wasn’t invisible anymore and that I was getting attention for my reviews, albeit negative. My parents tried to correct my shameless elitism but my insecure high school self decided that if I wasn’t going to be loved by all, then I might as well be hated.
Thankfully, over the years, I have since matured and learned to respect other’s opinions and not like independent and foreign cinema just for the sake of liking it but because its well-made and interesting. I have a feeling that my 13 year old self would have loved films like “Rachel Getting Married” and “The Kids Are Alright,” when my twenty-something self cringes at the pompousity of them.
Still, along with the negativity, I was finding that a few people were hearing from I was writing and that I was getting some of my classmates to give indie films a chance. As I continued to write reviews through my teens and twenties, my passion went from irritating others to sharing my love of movies and this is what the Top 800 Project is all about. Not a “look at all the movies I’ve seen!” thing but a “these are some really good movies that I recommend you watch” blog.
This brings us back to Sneakers. To be perfectly honest, if I never reviewed this movie for my 7th grade class, I would have completely forgotten about it and it never would have ended up on here. But this is a list of my favorite movies and many of them have personal emotional ties and this is the magic of cinema. Like a good song, seeing a movie again can you bring back a stream of memories, positive, negative, or neutral. This is why I am not giving straight up reviews of these movies but rather, highlighting something about the film that really grabbed me and drew me into the film even if it wasn’t the film itself! That being said, Sneakers is still a pretty fun movie.
About the Top 800 Project:
Using the They Shoot Pictures Starting List of 8800 films (LINK) and my Netflix ratings, I sifted through the list and of the 4500 films I’d seen, I selected a random number of films I liked more than the others. The list was about 812 films. I kicked off 12 to get an even 800. The list chronologically goes up to 2009. Each blog entry will list ten films, one of which will be discussed in detail. The ten films will then be posted toThe Top 800 Master List, a Google docs file compiling them. When the countdown finishes in what will be probably be a really a long time, I will begin discussing random films that I didn’t get to before.
Friday, January 21, 2011
A Quest to Get Lost
Friday, January 14, 2011
Golden Globe Are on Sunday. Whoop-Dee-Do. My picks
Thursday, January 6, 2011
755. Just Like Dr. Strangelove, But Not in the Least
Or…How I Learned to Keep Being Afraid of the Bomb
In the mid 60’s, the US and Russia were at the brink of nuclear warfare and at any given time, a button could be pressed and missles would be launched resulting in a near annilhation of the Earth and its population. Whether by mistake or by a rogue aircraft, the world in a war in which one bomb destroys a nation is serious business and a major concern and source of fear in America. Surely, a movie that deals with it and its consequences is serious business and a movie starring Walther Matthau and Henry Fonda, two established stars, would result in a hit film and win lots of awards. That is, unless a movie is released within the past year that hilariously lampoons this concept and includes a landmark comedic performance by Peter Sellers.
That movie is of course, Stanley Kubrick’s masterpiece Dr. Strangelove (Or How I learned to Stop Worrying and Love the Bomb), which will is much much higher on this list. The movie I am writing of in this entry is Fail Safe, an unfairly overlooked Sidney Lumet film that mirrors the plot of Dr. Strangelove, but deals with the topic of nuclear warfare in a serious fashion. When Fail Safe debuted, despite its superior direction and an excellent turn by Matthau, the movie wasn’t met with the gravity it deserved since Kubrick already made everyone laugh quite hilariously about nuclear war.
Does this mean that Dr. Strangelove never should have been made so that Fail Safe could get take its rightful place in the echelon of film? No. Strangelove was one of the greatest satires ever made and its place in film history is exceptionally important. However, perhaps Fail Safe could’ve gotten its act together and come out a year earlier.
I look at Fail Safe with the same sort of eye I give to superior Atomic age parable films like The Day the Earth Stood Still and The Atomic Café. These are all serious film documents that detail on film the national mood on the subject of atomic war, which paralyzed the nation in fear for the better part of two decades.
Where Lumet took a script (based on a critically acclaimed book) and made it a statement on America’s “worst fear,” Kubrick expressed the sentiment that the nation’s leaders were just as clueless as the populace. Social commentary vs. social satire with the same plot, one could say. Though in Fail Safe, there was certainly fighting in the war room. This movie also proved yet again, that no one does smug like Matthau. Even as the world is being destroyed, he is as cynical and sarcastic as ever and he probably made a warhead in that giant nose of his too.
About the Top 800 Project:
Using the They Shoot Pictures Starting List of 8800 films (LINK) and my Netflix ratings, I sifted through the list and of the 4500 films I’d seen, I selected a random number of films I liked more than the others. The list was about 812 films. I kicked off 12 to get an even 800. The list chronologically goes up to 2009. Each blog entry will list ten films, one of which will be discussed in detail. The ten films will then be posted toThe Top 800 Master List, a Google docs file compiling them. When the countdown finishes in what will be probably be a really a long time, I will begin discussing random films that I didn’t get to before.
Tuesday, January 4, 2011
764. Hollywood Shoots Up
I really want to write about something NOT in the English language. So far, all I’ve written about are movies in English. However, there are quite a few foreign films on here and as the list ascends, the anglo-centricism does inevitably die down. However, given that I just wrote about Requiem for a Dream, I want to bookend that with Otto Preminger’s 1955 film, The Man with the Golden Arm. This is not a Bond movie as I thought it was for many years. Instead, it stars Frank Sinatra as a heroin addict living in the ghettos of Chicago. Between bookies and his crippled wife, he can’t escape this toxic environment or kick his habit and the film details his struggle to get clean.
What impressed me most about this movie was how unflinching it was for its time. In the late 1950’s, the only sort of drug oriented films were sensationalist propaganda (we all remember the landmark 1930's "masterpieces" reefer and cocaine madness!). However, unlike the users in those films, Sinatra is not a babbling idiot. He is a man in trouble looking for answers and trying to make his life better. He is tortured and well developed.
Also, unlike those sensationalist films, he is among the most moral characters depicted. There is a clueless cop, but there is also the sinister drug dealer and the emotionally draining wife which lock him into his heroin abuse. Sinatra is stuck in the middle trying to please everyone and continues to fall back to his old habits.
I can understand how this film, despite the omnipresent Hayes Code, whose censorship encased Hollywood for almost 30 years, had to be released. It was a wake-up call that movies were meant to deal with real life subject matter and that the clunky and outdated Hayes Code was holding back subject matter that people wanted and needed to see. Man With a Golden Arm is a great movie and Sinatra is excellent in it but the lasting effect on Hollywood is ultimately it’s most important legacy.
About the Top 800 Project:
Using the They Shoot Pictures Starting List of 8800 films (LINK) and my Netflix ratings, I sifted through the list and of the 4500 films I’d seen, I selected a random number of films I liked more than the others. The list was about 812 films. I kicked off 12 to get an even 800. The list chronologically goes up to 2009. Each blog entry will list ten films, one of which will be discussed in detail. The ten films will then be posted toThe Top 800 Master List, a Google docs file compiling them. When the countdown finishes in what will be probably be a really a long time, I will begin discussing random films that I didn’t get to before.