Films I Watched - December, 2004
Submitted by lbangs on Mon, 12/06/2004 - 10:53
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- 12/28 - Kinsey - Should we live in a world of poetry or power? Should we strive to wield science to scrap away the uncertainty of reality, or should we relish the majesty and mystery of a world cloaked in metaphor and religion? Are the two necessarily mutually incompatible? To what degree is the world what we take it for, and to what degree is reality what we make of it? For some reason, the topic of sex often drives these questions home with a force few subjects can mimic, and Kinsey dives into the heart of this debate with a frankness rarely seen in mainstream films. Luckily, it usually does not focus on this issue at the expense of its characters. Sure, there are a few scenes that fall flat (including one that unintentionally brought images of Schindler’s List to my mind), and the final scene between the main character and his father, while very well-acted, still fails to be dramatically convincing, but the total effect of the film is to drive home its central dilemma by wrapping it inside of a moving story populated by real characters. The cast does much of the heavy lifting here, but the director is also on top of matters. The screenplay has a tough task before it, and though it falters at a turn or two, it does finish the race with its head high. Kinsey might tilt the debate a bit too heavily towards one side of the issue to be a balanced look at the questions posed above, but it is a fair look, and one that should keep the questions floating about for quite some time. Goodness knows there will be no definite answers any time soon. *** 1/2
- 12/27 - The Life Aquatic With Steve Zissou - Wes Anderson stumbles. Rounding up a great cast with his inventive ideas, he somehow loses control, and while The Life Aquatic is hardly a waste of time or money, it is a big mess. Usually, Anderson’s films open with style. Here, the opening trudges along, sloppily slinging characters and plot threads about without really giving the audience much reason to care. After the opening stumble, the film starts to find some shape; unfortunately, it loses control again at the end. In between are sparks, hints of the creative genius most of us know Anderson to be. Some of the scenes are very funny, all of the actors are very good (with a special gold star for Willem Dafoe), but as much as I will arm wrestle anybody who claims that, say, The Royal Tenenbaums lacks any true emotional connection with its characters, I will not challenge anybody who makes that claim for this film. The stylized touches often fall flat, leaving us all scratching our heads as to how far we were really supposed to buy them in the first place. There are glimpses throughout the two hours of a really good film in here, but like some sunken ship in the ocean, it is lost and beyond complete repair. ** 1/2
- 12/20 - Sleepover - Don't ask, cuz I won't tell. * 1/2
- 12/12 - Funny Girl - William Wyler, Barbara Streisand, and Omar Sharif work wonders on what should be a rather cookie-cutter musical. The movies pulls no surprises, but darn it all if I was not moved by the ending and pleased by Streisand's transformation from Fanny of the neighborhood to Fanny the stage star. The restored print was beautiful. *** 1/2
- 12/5 - Meet Me in St. Louis - I will be honest. I watched this film, but due to circumstances, I am not sure I really paid very much attention to any of it. I cannot review it, and I cannot assign a star rating. I do believe I vaguely enjoyed it, but I really cannot say anything else about it.
- 12/4 - Closer - Bring a coat, cause this movie is cold. I suspect the frosty distance, symbolized by the constant reference to aquarium, coupled with the cynical, painful portrayal of human sexuality and unfaithfulness will send many viewers running to the door. For the ones with the stomach to stay, Mike Nichols’ careful visuals, Patrick Marber’s incredible screenplay (Best Adapted Screenplay, anyone?), and the good performances reward, if not with warm fuzzy feelings, then with chilly observations and excellent screencraft that elevate this nasty film as one of the best movies of the year. Just remember; you’ve been warned… ****
- 12/3 - Tarnation - I should be up-front here. I tend to love the avant-garde. In Tarnation, Jonathan Caouette mixes home movies to tell the story of his life and his relationship with his troubled mother. Film speeds up, leaps from scene to scene, and combines in often confusing yet effective ways. It is probably the most experimental film I have seen on the big screen in Tulsa. Not that every trick works, but when the credits roll, you feel quite close to this family wounded by abuse and mental illness, and you cannot help admiring the bold attempt as well as relating to the very human characters behind the wild edits, and that makes Tarnation an impressive triumph. *** 1/2
Author Comments:
I'm rating the films on a zero to four star basis. ** 1/2 is average.
What are some of your other favorite avant-garde films?
I really love Un Chien Andalou, Meshes of the Afternoon, Dog Star Man, and much of Jean Cocteau's work. Some of Tarkovsky's films border on the avant-garde (perhaps I should just call them experimental), and I adore them. Some people consider elements of Hal Hartley's films (such as the dance sequences in Simple Men and Surviving Desire or many of his short features) rather out there, and he is my favorite director.
I do admit, though, that most of Warhol's out-there work does little for me, and I have yet to see a Kenneth Anger film I dig.
I think some of Lynch's films would qualify as well, although I certainly do not love all of his films.
Shalom, y'all!
L. Bangs
I might add that I have always found it a bit interesting that films have adopted narrative styles from novels rather than developed too many of their own. I have always been intrigued, for example, by films that try to be visual poems rather than filmed plays or novel-influenced narratives.
When I first hit film school, I told my advisor, "I love to write poetry, and I want to make films like poems rather than like novels."
Of course, just like more mainstream films, every movie rises and falls on its own merits. Being avant-garde is certainly no short-cut to greatness. I, however, always make a point to give the more experimental works a fair shot, and I do try very hard not to judge a work before I feel like I understand it.
Shalom, y'all!
L. Bangs