Somewhere in the Depths of Cinema

Beyond the Limits

2011-09-03T10:00:00.088+08:00

Although The Matrix is not really my cup of tea (it’s too sci-fi for my taste), I am convinced that the Wachowski Brothers have an impressive talent to create flawlessly entertaining, kinetic films. The Wachowskis, comprised of Andy and Larry (who is now called "Lana"), know how to equilibrize different genres in one film; in The Matrix movies, they successfully fused action, romance, sci-fi, and thriller.

Three years before the Wachowskis entered The Matrix, they made their directorial debut with a sexy neo-noir crime thriller called Bound. Stylishly photographed, very well acted, and intelligently written, Bound is about two women who go beyond the limits to fuck over the fuck-worthy mafia.

Set in Chicago, Bound introduces us to Violet (played by her royal hotness, Jennifer Tilly) and Corky (a very butch Gina Gershon). Violet is the Betty Boopish moll of Caesar (Joe Pantoliano), who is a launderer for the notorious Marzzone "family." Violet is a kind of woman who knows what she is and what she wants. ("I know what I am. I don't have to have it tattooed on my shoulder.") Corky is an ex-con. She’s now working for a Mr. Bianchinni by fixing things in the apartment next door to Violet’s.

It was love at first sight between Violet and Corky. The two smart, beautiful women immediately established a strong connection with each other. And soon they find themselves scheming to steal $2 million from the Marzzone family. But will our heroines succeed?

Though not fully underlined, Violet and Corky's emotional connection has a potential to melt even the coldest heart. Bound is basically a love story with a lesbian twist. It uses the classic "two against the world" storyline. The film's title (subconsciously) refers to Violet and Corky's fate: they are bound to fall for each other. But we only get a glimpse of Violet and Corky's love affair. Romance enthusiasts would be a little ungratified, because the film dwells more on its mob thriller aspect. If only the Wachowskis broadened Bound's romantic ingredient, the film could have been a great contribution to the New Queer Cinema.

Although lesbianism is not exactly the main subject of the film, the lesbian element works as a heart that keeps the film pumping. Violet and Corky's climactic love scene, which is really steamy but not pornographic, is wonderfully shot and well choreographed. (Feminist sexpert Susie Bright, who also appears in the film, is the technical consultant for the love scenes.)

And despite the absence of Neo’s prowess, Bound is still equipped with energy. Raw energy. Black shades and leather jackets, which are usually present in the film, made Bound look like a semiprecursor to The Matrix. The black leather jackets fit Violet and Corky's sexuality very well. (The leather subculture is very prominent in the LGBT community.) Therefore the use of the said outfit is absolutely relevant.

Top: Jennifer Tilly as Violet.

Bottom: Gina Gershon as Corky.

Tilly and Gershon as Violet and Corky.

I love how the Wachowskis treated their characters. They looked at Violet and Corky with an objective point of view, hence the sense of neutralism. Caesar treats Violet as a mere accessory. But Corky sees Violet as someone to be loved. Women are generally sensitive. While most men, perhaps with the exception of guys like Mickey (John Ryan), are usually "sexitive." It's a fact.

The Wachowskis also did a great job with the screenplay. Most of Violet’s lines are enticing, especially the ones during the "cup of coffee" scene.

Violet to Corky: You’re doing all the work yourself? That is so amazing. I’m so in awe of people who can fix things. My dad was like that. We never had anything new. Whenever anything was broken, he would just open it up. Tinker with it a little bit. And fix it. His hands were magic.

That line has a naughty undertone in it. And Tilly, with her cute and sexy voice, said it in such an alluring manner. She makes it sound like she’s not just flirting with Corky, but with the audience as well.

As Violet, Tilly is bold, seductive, classy, and ultrahot. And, I don’t mean to sound like a freak or anything, her hands are as sexy as her voice. (Thanks to Bill Pope for filming such beautiful hands.) Tilly exquisitely utilizes her innate sexiness into Violet. (I've always thought that the Tilly sisters are both attractive; Jennifer has a striking aura of sexiness, and Meg exudes an irresistibly sweet, mysterious charm.)

Fresh off Showgirls (a good bad film as most audiences call it), Gershon is convincing as Corky. It was said that Gershon modeled Corky after James Dean, Marlon Brando, and Clint Eastwood. And it worked really well. Gershon is very nearly flawless as Corky, one would really think that she might be a lesbian in real life. (Sorry girls, she said she's straight.)

French poster for the film.

The tagline translates to "for sex, for money, for pleasure."

Bound is packed with underrated talents. The casting is exceptional. The actors fit their characters like a glove. Tilly and Gershon share an amazing chemistry. Pantoliano is excellent as the sadistic Caesar. He definitely is a scene stealer. The film also features Law & Order: SVU's Christopher Meloni, as well as Richard C. Sarafian (a.k.a. the genius behind 1971's Vanishing Point).

Pope's cinematography is very nice. Tight close-ups are prominent. The camera movements are mostly cool and quite experimental, definitely not boring. Don Davis's music is eclectic. The music during the cops' arrival is reminiscent of those music used in '40s film noirs, most especially Billy Wilder's Double Indemnity. The songs used are gorgeous. Tom Jones’ She's a Lady is perfectly inserted.

The film opens with the scene of Corky bound and gagged in a closet. The voices of Violet, Corky, and Caesar speaking random lines can also be heard. It makes one wonder how Corky got into that predicament. Then cut to the scene where Violet and Corky meet each other for the first time. Bound uses nonlinear narrative, which gave the film an adequate mood of suspense. The pacing is dynamic, and the editing is clever and precise.

A very good example of hip and modern filmmaking, Bound proves to be one of the Wachowskis’ finest achievements. Along with Pulp Fiction and Se7en, Bound ranks as one of the most innovative and highly entertaining films of the '90s.

Trailer for Bound:

Fave Movie Quotes: Mother Joan of the Angels

2011-09-02T15:45:00.000+08:00

All redemption is in love. Love is as strong as death.

- Father Jozef Suryn

Starring Geraldine Chaplin

2011-07-31T01:43:00.014+08:00

Yes, she has her father's surname. She also bears a strong resemblance to him. But there's more to Geraldine Chaplin than being Charlie's daughter.

The lovely actress turns 67 today. The eldest of Charlie Chaplin's eight children with Oona O'Neill, Geraldine first mesmerized audiences with her breakthrough performance in 1965's Doctor Zhivago.

With more than 100 films to her credit, Geraldine surely made a name for herself. She has established a prolific career in Spain, France, and Hollywood. Geraldine has also worked alongside celebrated directors like Robert Altman, David Lean, Alain Resnais, Carlos Saura, and Almodovar.

Aside from sharing the same age with my mother, the other things that I admire about Geraldine are her grace and versatility. She can be gentle, scary, funny, heartbreaking, annoying, or sexy. She can convey a variety of emotions very well. And (I know I've said this before) I simply love her onscreen presence. She has that effortless charm on her.

Here are my top five performances by Geraldine, the other Chaplin.

1. REMEMBER MY NAME (1978)

Geraldine is Emily, a chain-smoking woman who just got out of jail. She moves into a Californian suburb and stalks Anthony Perkins and his wife.

Perkins is good, yes. So is his real-life wife, Berry Berenson. But this film is Geraldine's show. She gives a superlative performance as Emily. She is fierce yet fragile. Strange in a scary way, yet she makes you feel like she's worth your sympathy.

After watching this film, one would definitely remember Geraldine Chaplin's name.

An excerpt from Remember My Name:

2. LE VOYAGE EN DOUCE (1980)

Left: Dominique Sanda as Helene. Right: Chaplin as Lucie.

In this forgotten film, a pallid and painfully skinny Geraldine is perfect as Lucie, a thirty-something woman with a low self-esteem. Along with her childhood friend, Helene, Lucie embarks on a contemplative trip on a French countryside, where she hopes to improve her self-confidence.

Le voyage en douce is a bold statement about sensuality. It shows us excerpts from Lucie and Helene's sexual fantasies. It also attempts to suggest that Lucie and Helene have lesbian tendencies. And that's it. The film is quite snatchy and frustrating because it doesn't aspire to introduce the characters in a deeper way. But I love how the film hardly uses any music (except for the opening song); it really gave me a "sentimental journey" mood.

Geraldine brings candidness to Lucie. She also shares quite a wonderful chemistry with her co-star, Dominique Sanda. If it were not for the actresses' performances, the film would fade into total oblivion.

An excerpt from Le voyage en douce:

3. MOTHER TERESA: IN THE NAME OF GOD'S POOR (1997)

The film chronicles the life of the Blessed Mother Teresa; from her early days at St. Mary's High School in Calcutta to her acceptance of the Nobel Peace Prize in 1979.

As we all know, Mother Teresa is one of the most influential people of all time. She's also one of the strongest characters to exist on film. So strong that she can overshadow any actress portraying her. But Geraldine nailed it as Mother Teresa; she's got the walk and the talk.

Geraldine not only portrays Mother Teresa, she becomes Mother Teresa. Her heartfelt portrayal of a woman who devoted her life in helping poor people is truly amazing.

An excerpt from Mother Teresa: In the Name of God's Poor:

4. NASHVILLE (1975)

Left: Dave Peel as Bud. Right: Chaplin as Opal.

Geraldine with a fake British accent offers a genuinely great performance.

Just like most of Altman's films, Nashville consists of a large ensemble cast. But Geraldine didn't fail to stand out as Opal, a self-proclaimed BBC journalist.

Geraldine is off the wall as Opal. She perfectly transmits Opal's insanity, which resonates in Aunt Glady (Geraldine's character in 1995's Home for the Holidays).

An excerpt from Nashville:

5. PEPPERMINT FRAPPE (1967)

Top: Elena.
Bottom: Ana.

In her first collaboration with Saura, a young Geraldine plays a dual role: Elena and Ana. The film is about a middle-aged man who becomes obsessed with his childhood friend's wife.

Geraldine is a darling as Elena. Sweet as candy, and cute as a button. And a remarkable dancer too. (Check out her dance scene.)

As the shy but sly Ana, Geraldine is full of mystery and suspense. There's just something darkly enigmatic that lurks behind her timid glance.

Geraldine's grace and versatility as an actress is so evident in this film. She was able to make Elena and Ana totally different from one another. It's almost hard to believe that they are played by the same actress.

An excerpt from Peppermint Frappe:

I find her fascinating with off-beat taste in all things. A true bohemian who still fits to any situation with any assortment of people. She's intelligent, talented, curious, generous. - Jane Fonda on Geraldine Chaplin

Happy Birthday, Geraldine! :)

A Fusillade of Passion

2011-07-24T13:05:00.010+08:00

"Perhaps the greatest film, the film that I think means as much to the history of film as Shakespeare to the history of theater."

- Rainer Werner Fassbinder on The Damned.

Fellini. Antonioni. Bertolucci. De Sica. Pasolini. Rossellini. And Visconti. The Italian cinema would practically be nothing hadn't those names existed.

Among those filmmakers, Luchino Visconti is the one whose works I find very exciting. Most of his films are fearless; yet underneath that audaciousness lies a certain touch of overwhelming tenderness.

Death in Venice is Visconti's most popular work. (That film is a tearjerker.) While 1969's The Damned is, in my opinion, his best and sadly underrated opus.

Set in 1933 Germany, The Damned tells the story of the Essenbecks, a wealthy family that owns a steelworks factory, which supplies the artilleries that the Nazis use. (The Essenbecks were loosely based on the Krupp family.)

The fucking World War II is yet to explode, but the Essenbecks already have a war of their own. Their enemies: each other.

The steelworks company is presided by the family patriarch, Baron Joachim von Essenbeck (played by Albrecht Schoenhals). Everyone in the family, even the friends of the family, wants to be in Joachim's position; that's why someone eliminated him.

Aside from Joachim, the Essenbecks are:

Ingrid Thulin as Sophie.

Sophie (Ingrid Thulin) - Also known as the Baroness von Essenbeck. Joachim's ritzy daughter in law; she is the widow of his son, a soldier who died in combat. Sophie is a domineering mother to her son, Martin.

An effeminate Helmut Berger is Martin, the heir apparent to Joachim. He doesn't give a damn about the steelworks. His primary concerns include sneaking into his girlfriend's apartment, getting laid, and sexually harassing little girls. I guess it's fair to call him the perverse Essenbeck. Martin is an amoral, self-indulgent brat who would stop at nothing to get what he wants. And he wants to destroy his own mother for depriving him of her love and attention. (Talk about a case of Oedipus complex.)

Konstantin (René Koldehoff) - A member of the SA. The newly-appointed vice president of the Essenbeck Steelworks. He knows he has an outside chance to become the company's president. That's why he sets his sights on his musically inclined son, Gunther.

Gunther (Renaud Verley) - A cellist. He is probably the gentlest Essenbeck. Konstantin wants him to quit school and focus on the family business; so that one day he would be in the position big enough to throw his own father out. Trouble is Konstantin is a pushy dad, and Gunther is hard-headed son.

The family friends are as follows:

Frederick Bruckmann (Dirk Bogarde) - Sophie's lover. Replaced Joachim as the president of the Essenbeck Steelworks. The root of Martin's hatred for Sophie. Frederick is full of ambition, but lacks firm courage to fight for that ambition.

Herbert Thallman (Umberto Orsini) - An outspoken leftist. The former vice president of the Essenbeck Steelworks. The prime suspect for the murder of Joachim.

Elizabeth (Charlotte Rampling) - Herbert's wife. The mother of Herbert's two daughters. She's not as politically outspoken as her husband. Just like Gunther, Elizabeth wants to live a life free of contempt.

Aschenbach (Helmut Griem) - A high-ranking officer of the Third Reich. The baddest of the bad. He is devoid of any emotions. I think Aschenbach represents Adolf Hitler. He's evil and manipulative, just like Hitler.

The Damned is approximately three hours long. But it has a vast amount of energy in it, that's why I didn't find it tedious. It remarkably explores themes such as greed, madness, and decadence. The film is kinda like The Godfather set in Nazi Germany.

Berger's voice and accent are very reminiscent of Joel Grey in Cabaret; he sounds a bit funny. But he is remarkable as the heinous Martin. And his legs. Who would think that those sexy legs belong to a man?!

It's great to see Thulin in an anti-Bergman film. Sophie is a total departure from most of Thulin's characters in Ingmar Bergman's films. In fact, I think Thulin is the most daring among Bergman's actors. I mean, come on, she did Salon Kitty at the age of 50.

Berger and Thulin's accent are quite out of tune. I think it would've been better if the actors spoke in Deutsch. Anyway they're supposed to be a German family. (I've seen the undubbed English version.)

Left: Dirk Bogarde as Frederick Bruckmann.

Right: Berger as Martin.

Most of the actors are very good. Bogarde's acting is awesome as always. But my most favorite performance is by Griem. He is a scene stealer as Aschenbach. The actor portrays his character with so much ease, yet his performance is the strongest. The scene of him luxuriously munching those grapes while Sophie and Martin are arguing is well-placed.

The cinematography made me feel like I'm watching a phenomenal stage play. The interior lighting usually plays around green, red, and blue.

Maurice Jarre's music is epic, just like the film. The opening theme is heart-pounding; it perfectly fits the "fearless yet tender" description I said a while ago.

The Damned is a fusillade of passion. It explodes with emotional intensity and power. An underrated classic, I must say.

Fave Movie Quotes: Network

2011-07-17T12:58:00.001+08:00

Television is not the truth. Television's a goddamned amusement park! Television is a circus, a carnival, a travelling troupe of acrobats, storytellers, dancers, singers, jugglers, sideshow freaks, lion tamers, and football players. We're in the boredom-killing business. So if you want the truth, go to God. Go to your gurus. Go to yourselves! Because that's the only place you're ever gonna find any real truth. But, man, you're never gonna get any real truth from us. We'll tell you anything you wanna hear. We lie like hell. We'll tell you that Kojak always gets the killer, and that nobody ever gets cancer in Archie Bunker's house. And no matter how much trouble the hero is in, don't worry. Just look at your watch. At the end of the hour he's gonna win. We'll tell you any shit you want to hear. We deal in illusions, man. None of it is true.

- Howard Beale

Sings a Rare Tune

2011-07-10T15:29:00.009+08:00

"Commerce should adapt to art, and not art to commerce."

The 1980s saw the emergence of cinema du look, it's kinda like the decade's nouvelle vague. "Youth versus the authority" is one of cinema du look's basic themes. 1981's Diva, which was directed by Jean-Jacques Beineix, signaled the birth of this new era in French cinema.

Diva's hero is Jules (played by Frederic Andrei), a young man who suddenly finds himself in imbroglio. Jules doesn't look like the type of guy who'd get into any kind of trouble; he is polite and lanky. He also makes an honest living as a postman.

Trouble and Jules are not synonymous. Not until he illegally recorded the concert of Cynthia Hawkins (Wilhelmenia Wiggins Fernandez) for his personal use. Cynthia, the title character, strongly refuses the idea of being recorded. Unknown to Jules, a pair of bootleggers/gangsters is aware of Jules' endeavor and wants to have his first-rate recording of the diva's concert.

Wiggins Fernandez as the diva.

On the other hand, another pair of gangsters and the police think that Jules has the cassette tape that would expose the leader of a prostitution ring and a drug syndicate.

Meanwhile, Jules finds new friends in Alba and Gorodish (Thuy An Luu and Richard Bohringer). Gorodish is a philosopher, and Alba, a thief, is his muse. Jules also captures the attention of Cynthia, and they form a somewhat symbiotic relationship.

Diva excels in all levels: action, comedy, drama, romance, and thriller. The subway chase sequence is an unforgettable ride.

The cinematography is boasting with natural beauty. The lighting is usually lambent; Philippe Rousselot often utilizes shades of blue. The color volume is very impressive. I especially love the shots of a rainy Paris, the trees in the jungle, and the sunrise outside the lighthouse. Gerard Marcireau did an awesome job on the set design; Gorodish and Alba's crib and the prostitute's pad are seductive.

The film also served as a precursor to Beineix's more popular film, Betty Blue. Though not as sexually daring as Betty Blue, Diva has its share of subtle eroticism: the artwork on the floor by Jules' bed, as well as the sculptures on the prostitute's pad. Even the long-shot of the lighthouse is erotic.

Wiggins Fernandez and Andrei.

Although Andrei posesses a boyish charm (he looks like a slender version of Tom Welling), he is just okay as Jules. His performance is not that bad, but it could still be better. Andrei exudes innocence, which is a perfect fit for his character. I first saw the actor-turned-director in the sensual Le voyage en douce. In the 1980 film, Andrei played the role a young hotel room attendant who shares a French kiss with Geraldine Chaplin.

A real-life opera singer, Wiggins Fernandez is engaging as Cynthia. Her voice is splendid. I love her rendition of L'air de La Wally, it's uplifting. As of the moment, Diva is her first and only film.

The supporting actors are mostly good. Bohringer is even more impressive here than he was in Subway. With the help of his calm and collected onscreen persona, Bohringer makes Gorodish look so cool. Even cooler than any CGI-powered superheroes that are parading the silver screen lately.

Diva sings a rare tune; it is a film that has both style and substance. It tackles social issues (e.g., piracy and corruption) without inducing boredom. It's also stylish without going over the edge. One word after watching the film: Wow.

Cinematography: Days of Heaven

2011-06-30T13:06:00.003+08:00

When one says "great cinematography," beautiful landscapes, tight close-ups, perfectly balanced colors, and Days of Heaven come to mind.

1978's Days of Heaven, which featured a young Richard Gere, was directed by Terrence Malick. It's a love triangle set in early 20th century America.

The film is notable for its better-than-brilliant cinematography, which was mostly shot by Nestor Almendros. Days of Heaven is a visual magnificence.

The film's iconic "locust attack" sequence.

A wheat grass during spring.

A close-up of the fierce creature.

Yummy red wine.

I love how this shot captured the lines on the actor's face.

The Farmer's house.

I feel like I'm looking at moving paintings whenever I see these shots.

Cinematography: The Seventh Seal

2011-06-30T12:48:00.007+08:00

Last June 11, acclaimed cinematographer Gunnar Fischer passed away. He was 100 years-old. Fischer is best known to film enthusiasts as the man who preceded Sven Nykvist as Ingmar Bergman's cinematographer. In fact his most notable works are the ones he did for Bergman: The Seventh Seal, Wild Strawberries, etc.

1957's The Seventh Seal is the most parodied among Bergman's films. It is set in 13th century Sweden, during the Black Plague. After a crusade, Antonius Block (Max von Sydow), along with his squire (Gunnar Bjornstrand), makes his way back home. Along comes Death (Bengt Ekerot). Antonius, not yet ready to leave this world, makes a deal with Death; if Antonius wins the game of chess, Death will leave him alone.

The Seventh Seal wouldn't be the same without Fischer's haunting cinematography.

Death vs. Antonius

I could almost touch and feel those pebbles.

These shots make me want to live by the sea.

The dance of death.

*Shivers*

The Death himself.

One of Bergman's trademarks: tight close-up.

I love how the moonlight caresses the actors' faces.

One can almost tell the film's story just by looking at this shot. The light on Death's right side symbolizes life, and Death has come to put out that light. On Death's left is a statue of an anxious man who looks like he's begging for his life to be spared. Obviously the statue represents us, human beings.

A Superb Drink Up to The Last Sip

2011-06-13T01:43:00.129+08:00

Geraldine Chaplin radiates grace in almost every film she's in. That's why I forgive her for taking part in that junk called BloodRayne. I've always been entranced by Chaplin's screen presence. And after watching Cría cuervos, I was intrigued to see more of Carlos Saura's films. So I checked out Peppermint Frappe, his first of nine films with Chaplin.

Saura's 1967 film is a haunting tale of obsession, love triangle, and downward spiral. It tells the story of Julian (Jose Luis Lopez Vasquez), a balding, middle-aged radiologist who seems satisfied with his single life until Elena (Geraldine Chaplin) comes along. Elena is the cosmopolitan, blonde young wife of Pablo (Alfredo Mayo), Julian's childhood best friend. Julian seriously believes that he'd already seen Elena before; he insists that she's the drummer girl he saw during the Holy Week ceremony in Calanda. Julian falls madly in love with Elena because she embodies his type of woman: vibrant and sophisticated. Julian persistently seduces Elena, she persistently turns him down.

On the other hand, Ana (also played by Chaplin) harbors a secret crush on Julian. She is his timid, brunette assistant. Ana looks a lot like Elena, at least in Julian's point of view. Pablo didn't see any resemblance between Ana and his wife, so I suppose it's only in Julian's mind that the two women look alike. Unsuccessful with Elena, Julian persuades Ana to wear chic clothes and dye her hair blonde. He wants her to become someone she is not --- Elena.

Julian and Ana

At first it seems like Julian is the one who's manipulating Ana, but it's actually the other way around. Ana utilizes Julian's grief for her own sake. As long as Elena keeps on dumping Julian, Ana has him wrapped around her finger. So it's Ana, not Elena, who serves as the film's femme fatale.

Chaplin is remarkable. She's enchanting as the heartbreaker Elena; and intriguing as the shy but wicked Ana. One of my favorite scenes is the one wherein Elena sings a lullaby to a worn out doll. That scene boasts with tenderness, which adds more tragedy to Elena's fate. Chaplin absolutely nailed that scene. Like Remember My Name and Nashville, this film features one of Chaplin's best performances.

Lopez Vasquez was impressive as Julian. He was able to make Julian look very annoying. Julian is a pathetic chauvinist who is also irritatingly childish. He's like a brat who would do anything to get what he wants. And if he doesn't succeed, all must vanish. Julian is probably one of the most vile characters ever filmed. Even my mom found him despicable.

The peppermint frappe in the title refers to Julian's favorite drink, which is also used as a plot device. The film's pacing is very smooth. From a rather quiet drama ensues a startling finale. Peppermint Frappe has one of the shocking yet exceptional endings I've ever seen. The last 23 minutes of this film always make me shiver.

Just like Stanley Kubrick and Wong Kar-wai, Saura has a good taste in music. He chooses songs that cause LSS; Jeanette's Porque te vas in Cría cuervos, and Los Canarios' The Incredible Miss Perryman in this film. Cinematographer Luis Cuadrado lets us explore the enigmatic city of Cuenca.

Although Peppermint Frappe was dedicated to Luis Buñuel, whose sensational Belle de jour was also released in 1967, Saura's film has a strong Hitchcockian vibe in it. But Peppermint Frappe still has a unique blend of its own.

The film was shot in Spain during Francisco Franco's reign, and is said to criticize Franco's regime. (I guess the Julian character aims to represent Franco.) I didn't see Peppermint Frappe as a political film. I saw it more as a pure work of art; truly outstanding in its essence.

Julian and Elena

Peppermint Frappe is a multilayered film. It starts off as a bittersweet romance, eventually veers into drama, gravitates toward mystery, and brilliantly transforms into a psychological thriller. Saura effectively mixed those ingredients to create a disturbing, excellent film.

So grab your Peppermint Frappe and let's cheers! ;)

Cinematography: The Spirit of the Beehive

2011-06-03T10:00:00.044+08:00

Cinematographer Luis Cuadrado was already going blind during the production of The Spirit of the Beehive. Cuadrado, along with Nestor Almendros, is considered to be one of the greatest Spanish cinematographers who astounded audiences around the world with their breathtaking visions. Both Cuadrado and Almendros went blind later in their careers. Both also died under tragic circumstances; Almendros succumbed to AIDS, and Cuadrado committed suicide. But their works will continue to inspire audiences and filmmakers alike.

Cuadrado's work for The Spirit of the Beehive is one of his best. Victor Erice's 1973 film tells the story of a seven year-old girl who wanders into her own fantasy world after watching Frankenstein. I've always thought that The Spirit of the Beehive inspired Guillermo del Toro to make Pan's Labyrinth.

The Spirit of the Beehive is one of the most astonishing films I've ever seen; thanks to Erice's flawless storytelling, Ana Torrent's raw but engaging performance, and Cuadrado's splendid photography.

The color distribution and the composition are perfect.
These shots almost look like paintings.

Haunting dark shots.

Dreamy.

I love how this shot accentuates Ana's soulful big brown eyes.

Cuadrado managed to exude symmetry in most of his shots.

Fave Movie Moments: The Mirror Crack'd

2011-05-30T15:45:00.021+08:00

Just like the other film adaptations of Agatha Christie's works, The Mirror Crack'd has a star-studded cast. This time it includes Elizabeth Taylor, Rock Hudson, Kim Novak, Tony Curtis, Geraldine Chaplin, Edward Fox, and Angela Lansbury. A then-unknown Pierce Brosnan also makes an uncredited appearance. This 1980 crime/mystery/thriller was helmed by Guy Hamilton, a director best known for his James Bond films.

Despite being a murder mystery, the film is packed with hilarious one liners like,

"I could eat a can of Kodak and puke a better movie."

and

"(I) love your outfit, darling. What are you supposed to be, a birthday cake? Too bad everybody's had a piece."

It may not be that grand of a film, but The Mirror Crack'd sure has lots of funny moments in it. The first catfight between Marina Rudd and Lola Brewster (Taylor and Novak) is my most favorite.

The film is campy. And although it doesn't stand side by side with Murder on the Orient Express and Death on the Nile, I still found The Mirror Crack'd to be an entertaining film. (Thanks to Liz and Kim's catfights.)

My (Criterion) Top 10 List

2011-05-15T15:45:00.072+08:00

The Criterion Collection is a video distribution company that publishes "the greatest films from around the world." (In DVD and Blu-ray formats.)

In other words, if a film gets a "Criterion treatment" then it must be great. Every month, Criterion asks "a friend—a filmmaker, a programmer, a writer, an actor, an artist—to select their ten favorite movies available from the Criterion Collection and jot down their thoughts about them."

I love their Top 10 Lists, which include lists by Steve Buscemi, Jane Campion, James Franco, Guy Maddin, Paul Schrader, etc. Criterion doesn't even know I exist so I made my own Top 10 List. I wrote it in alphabetical order, so I wouldn't have to go insane thinking which film is my most favorite.

#1
CHARADE

Stanley Donen

From Maurice Binder's glorious title sequence (accompanied by Henry Mancini's gorgeous music) to the clever denouement; everything about Charade is pure entertainment. And then there's Audrey Hepburn and Cary Grant, two of the classiest actors in the history of cinema. Hepburn's beauty is enchanting. Most critics call this film as "the best Hitchcock movie that Hitchcock never made."

#2
CHUNGKING EXPRESS
Wong Kar-wai

This film is an enduring favorite of mine. Wong Kar-wai is (probably) the most sentimental filmmaker around. He is such a romanticist. If you love love, Chungking Express is a film for you to see.

#3
CRÍA CUERVOS
Carlos Saura

THE SPIRIT OF THE BEEHIVE
Victor Erice

I've recently become a fan of Cría cuervos. And the more I think about The Spirit of the Beehive, the more mesmerizing it becomes. Both films captured a different side of childhood most adults don't (or care not to) know. And both also featured the girl with soulful eyes, Ana Torrent. She's remarkable in both films.

#4
DIABOLIQUE
Henri-Georges Clouzot

Forget the crappy 1996 remake, this one's way better. Like 100% better. Hitchcock vied for the right to turn Boileau-Narcejac's novel into a film, but Clouzot eventually bought the rights.

#5
A GENERATION
Andrzej Wajda

The ending still touches me. Wajda' feature film debut is a World War II drama. It is also a profoundly moving portrait of youth fighting for freedom in Nazi-occupied Poland.

#6
MODERN TIMES
Charlie Chaplin

Before Mr. Bean there was The Tramp. Charlie Chaplin's The Tramp is one of the most adorable characters to emerge onscreen. And Charlie Chaplin is undeniably a comedic genius. There are a lot of hilarious moments in this film; my most favorite is the roast duck scene. And the flag scene too! Modern Times is actually Chaplin's last "silent" film. This is where the song Smile came from; Chaplin composed the music (which can be heard by the end of the film), then John Turner and Geoffrey Parsons added the lyrics and title in 1954. Watch this and you'll see why Charlie Chaplin is Charlie Chaplin.

#7
REPULSION
Roman Polanski

Through the eyes of Catherine Deneuve's Carol, Polanski showed claustrophobia, menace, and sexual repression. Along with The Pianist, Chinatown, and The Ghost Writer, Repulsion is my favorite Polanski film.

#8
SCENES FROM A MARRIAGE
Ingmar Bergman

THE SEVENTH SEAL
Ingmar Bergman

Persona, Scenes from a Marriage, and The Seventh Seal are my top three films by Bergman.

Scenes from a Marriage is quite reminiscent of John Cassavetes' films, most especially Faces. Mainly because it was shot in cinéma vérité style, a filmmaking technique that is usually associated with Cassavetes. I guess Bergman used this method of filmmaking to emphasize the authenticity of his actors' emotions. And he succeeded in doing so.

Before Sven Nykvist, Bergman worked with Gunnar Fischer. Nykvist was a great cinematographer, so was Fischer. The Seventh Seal is one of Fischer's finest works. It is also a great example of Bergman's genius.

#9
SHADOWS
John Cassavetes

Cassavetes' directorial debut signaled the birth of American indie cinema. Shadows is a heavily improvised film. It was shot on a tight budget, and the audio is not that good; but I love how it captured the candidness of Manhattan. And the scene wherein we see Tony's true color is, for me, one of cinema's most intense moments.

#10
Z
Costa-Gavras

Z is one of the bravest films I've ever seen. It is not afraid to say, "Any resemblance to real events, to persons living or dead, is not accidental. It is INTENTIONAL." How I wish Filipino filmmakers can be as fearless as Costa-Gavras.

My Favorite Cinematic Moms

2011-05-08T10:00:00.047+08:00

Being a mother is one of the best things that can happen to a woman. And a mother's love is one of the best things that can happen to a person. Everyday should be a mother's day; because a day is not enough to thank and celebrate the most wonderful woman in our life. If it weren't for our mothers, none of us would exist.

Cinema has been a very good medium in showcasing different shades of mothers; from Bambi's mom to Mommie Dearest. Below are some of my favorite movie moms.

Mary, The Passion of the Christ

Maia Morgenstern as Mary

The Blessed Virgin Mary herself is the epitome of motherhood and genuine love.

Anne Deveraux, My One and Only

Renée Zellweger (with Logan Lerman) as Anne Deveraux

Anne wasn't that dedicated of a mom during her sons' earlier years. But after voluntarily becoming a single mom and going through an American road trip with her kids, Anne proved that she has the power to become a good mom.

Aurora Greenway, Terms of Endearment

L-R: Debra Winger as Emma, Shirley MacLaine as Aurora

She is also a best friend to her daughter, Emma. She would even scream, "Give my daughter the shot!"

Christine Collins, Changeling

Angelina Jolie as Christine Collins

The film was based on the true story of Christine Collins, a mother who fought the manipulative and corrupt authorities in order to find her real son. She never ceased hope that one day she would still find her son, Walter Jr.

Doris Vinyard, American History X

Beverly D'Angelo as Doris Vinyard

She will stick with her kids, even if one of them is an asshole like Edward Norton's Derek Vinyard. She might have told Derek, "I'm ashamed that YOU came out of my body!" But don't forget that she also told him, "You think you're the only one doin' time, Derek? You think you're here all alone? You think I'm not here with you?"

Eliane Devries, Indochine

Catherine Deneuve as Eliane Devries

Eliane would give everything to her daughter; the land, the house, the rubber factory, the man she had a fling with, and most of all her unconditional love. She would sacrifice everything for her daughter's happiness. She would even use all her connections to ensure her daughter's safety.

Evelyn Mulwray, Chinatown

Faye Dunaway as Evelyn Mulwray

She doesn't mind receiving a bunch of face slap from Jack Nicholson just to protect her sister/daughter.

Irene, Volver

Carmen Maura as Irene

Irene would return from "the dead" to patch things up with her daughters.

Josie, Anak

Vilma Santos as Josie

She would take care of other people's children in order to feed her own children. As an Overseas Filipino Worker, Josie had to cope with homesickness; she also had to endure the contempt her own daughter has for her.

Maria Alvarez, Maria Full of Grace

Catalina Sandino Moreno as Maria Alvarez

She would go to the extreme in order to provide a better life for her unborn child. Although I'm totally against drugs and drug trafficking, I admire young Maria's determination to work her way out of the poverty line.

The Mother*, Cría cuervos

L-R: Geraldine Chaplin as The Mother, Ana Torrent as Ana

In Ingmar Bergman's Autumn Sonata, Ingrid Bergman neglected Liv Ullmann to pursue her career as a classical pianist. In Carlos Saura's Cría cuervos, Geraldine Chaplin did the opposite; she decided to abandon her promising career as a concert pianist to become a full-time mom.

Mrs. Gump, Forrest Gump

Sally Field as Mrs. Gump

Mommy Gump accepted and loved Forrest even if he isn't that smart. She also thinks that "life is like a box of chocolates."

Raimunda, Volver

Penelope Cruz as Raimunda

She is willing to admit the crime her daughter had committed. Although it's not nice to obstruct justice, Raimunda's zealousness to defend her daughter is still admirable.

Wendy Torrance, The Shining

Shelley Duvall (with Danny Lloyd) as Wendy Torrance

Wendy might look like Olive Oyl; lanky and all. But this mommy was able to outsmart her son's dangerous dad.

Sarah Connor, Terminator 2: Judgment Day

Linda Hamilton as Sarah Connor

This kick-ass mom would fight evil androids to keep her son, John, safe.

*Chaplin's character was also called "Maria" in one scene.

Childhood Through A Child's Eyes

2011-05-01T21:30:00.031+08:00

Most adults, especially the depressed ones, describe childhood as the happiest stage of life. It is a time when innocence is in full bloom. A time when almost everything is a mystery to our then-innocent eyes. A time when stupid vanity does not exist. And a time when everyday is an adventure.

I don't mean to sound cynical, but childhood is not always stress-free. For some it is perhaps the most uncertain period in their life. As children, we don't have enough capacity to decide for ourselves. Somebody else decides for us. Acclaimed Spanish director Carlos Saura described childhood as "a time of terrible indecision."

Cría cuervos, Saura's 1976 film, introduces us to Ana (played by Ana Torrent), an eight year-old girl who is going through a despondent period in her life; both of her parents died. Ana has a short black hair that highlights her sad, big dark brown eyes. Torrent's melancholic beauty is perfect for the film's tone. The film got its title from the Spanish proverb, "Cría cuervos y te sacarán los ojos." ("Raise ravens, and they'll peck out your eyes.")

Ana has two sisters: the elder Irene and the younger Maite (Conchi Perez and Maite Sanchez). But their parents' death had more impact on Ana because she witnessed the painful last days of her mother (Geraldine Chaplin). She also saw her playboy soldier father (Hector Alterio) dead in his bed. Ana believes that she has killed her dad. Her mom died before the film started, but she appears in the film when Ana imagines her as a ghost.

Ana with her mom.

After the demise of their dad, Ana and her sisters are taken care by their mom's sister, Paulina (Monica Randall). Aunt Paulina is an attractive woman who is in her mid-30s. She is kind but seems frigid and authoritative most of the times; that's why she'll never match the gentleness of the children's mom. Aunt Paulina, despite her age, still has to savor the joys of life after depriving herself of such things for quite a long time. With the children and Aunt Paulina live Rosa (Florinda Chico) and the children's mute grandmother (Josefina Diaz). Rosa is an affable plump woman who has been working for the family long before the children were born. She is also a good friend to the family, especially to the children and their mom. Then there's the unnamed grandma whom Ana sees as a fascinating enigma.

From a bird's eye view, the film looks somber. It's probably because of the (usually) dark lighting and the story's dominant atmosphere. One of the heartbreaking moments in the film is the scene where Ana imagines her mom telling her a bedtime story, then she realized that it's just a product of her imagination so she yelled "Mama!" many times. I felt tears falling down my face as I watch that scene. Ana crying out "Mama!" is the epitome of the child's longing for her mom. It's an emotionally painful scene to watch.

Despite of its gloominess, Cría cuervos also has its share of cheerful moments: Ana teasing Rosa because of her big bosom. Or the scene where the adult Ana (also played by Geraldine Chaplin) recalls a happy vacation during her childhood. Or everytime Jeanette's Porque te vas is played. Or even the candid reaction of Maite when Aunt Paulina put her in a bathtub filled with very hot water.

Cría cuervos also has dream-like sequences because Ana often drifts into her imaginations. For me, the most surreal scene is the flying scene. (Spanish cinema and surrealism seem like two peas in a pod.)

Carlos Saura uses symbolism to represent a character or a situation. I think the chicken feet in the refrigerator symbolizes Ana's inability to accept her parents' death. Ana has been frozen (refrigerator) in the denial stage that's why she can't move on (we use our feet to walk and move forward).

I came across Cría cuervos and The Spirit of the Beehive in Criterion's Explore Themes page. The two films are categorized under the Growing Pains section. Victor Erice's The Spirit of the Beehive, which also stars Ana Torrent, is a beautifully photographed film. But Cría cuervos takes a deeper look into a character's thoughts. Compared to The Spirit of the Beehive, Saura's film is a more intensive study of one's soul. Cría cuervos also has a Bergmanesque quality in it; Saura's character treatment and the use of the camera as a mirror is definitely Bergmanesque.

Top: A scene from Ingmar Bergman's Persona
Bottom: Saura's Cría cuervos

It's amazing how Saura captured childhood through a child's eyes; very few directors are able to do that. Ana Torrent's performance is as captivating as the ghost of Ana's mother. I'm also a fan of multilayered actresses and delicate beauties like Geraldine Chaplin, that's why watching Cría cuervos has been a pleasure for me.

The main theme of Cría cuervos is death; death of a loved one, emotional death, and even the death of a hamster. We need films like this in order for us to remember that death is inevitable. We're all going there, that's why we need to treasure each moment of our lives.

Women in Turmoil

2011-04-11T20:10:00.040+08:00

They say that behind every man's success is a woman. And my favorite Beatle, John Lennon, once sang: "And woman I will try to express. My inner feelings and thankfulness. For showing me the meaning of success..."

Whether she's a mother, a sister, a wife, a lover, or a friend, a woman is truly an inspiration to a man. But what will happen if a man's inspiration suddenly finds herself battling her inner demon? Will the man still love her? (Just wondering.)

There are many depictions of women in turmoil; but few I found really outstanding. Here they are:

Ingrid Thulin, Cries and Whispers

Ingmar Bergman regular (and probably the best actress among Bergman's troupe) Ingrid Thulin is Karin. She's a cold woman on the surface; but deep inside, she's a child waiting to be loved. Karin is the eldest of the three sisters in Bergman's 1972 drama. Karin may seem indifferent; she doesn't want to be touched. Truth is, Karin is afraid of intimacy because it is something very strange for her. She has never felt loved before. She does everything she can to avoid intimacy. Hence the genital self-mutilation scene; the scene that paved the way for Isabelle Huppert (in La pianiste) and Charlotte Gainsbourg (in Antichrist). Thulin offers one of the most powerful and underrated performances I've ever seen. Ever.

Catherine Deneuve, Repulsion

This is my most favorite (and the best) performance by La Deneuve.

Eva Green, Cracks

There's more to Eva Green than being a Bond girl.

Gena Rowlands, Opening Night

Although arthouse audiences might remember Gena Rowlands for her Oscar®-nominated turn in A Woman Under the Influence, I still prefer Rowland's performance in Opening Night. Rowlands is Myrtle Gordon, an actress who suffers an emotional meltdown after witnessing a fan die for trying to see her. (Think a more expanded version of All About My Mother's Huma Rojo.)

Ingrid Bergman, Stromboli

In a way, I can relate to Ingrid Bergman's Karin. She may seem like a spoiled brat. But she's more than that. She's a woman dreaming of something better; but she finds herself stuck in a wrong place. Stromboli is a turning point in the career of one of the most successful Nordic actresses of all time.

Isabelle Adjani, Camille Claudel

The artist. The lover. Her passion. Her downward spiral. Her life. Camille Claudel is the most mature among Adjani's performances.

Isabelle Huppert, La pianiste

Huppert is Erika, a middle-aged piano teacher who still lives with her mother. Erika has sadomasochist fantasies, which were fueled even more when one of her students seduces her. What I like most about Huppert is the fact that she's not afraid to dare. Dare to take on characters that are revolting; and also dare to go here in the Philippines and make a film helmed by a relatively unknown director. That, for me, is truly commendable.

Liv Ullmann, Face to Face

The Norwegian Angel going insane. Remarkable. And the Oscar® nomination is well-deserved.

Natalie Wood, Splendor in the Grass

Natalie is perfect as Deanie Loomis. Wood has the power to go to the extreme just to portray a part with such overwhelming emotion. Too bad Wood's talent was mostly marginalized.

Vivien Leigh, A Streetcar Named Desire

Oh well. Vivien Leigh as Blanche DuBois. Need I say more?

EDIT: Also, Elizabeth Taylor in Who's Afraid of Virginia Woolf?, Meg Tilly in Agnes of God, and Gloria Swanson in Sunset Blvd.

Fave Movie Quotes: Opening Night

2011-04-10T22:15:00.003+08:00

Age isn't interesting. Age is depressing. Age is dull. Age doesn't have anything to do with anything.
- Myrtle Gordon

Devoid of Anger, Pure in Heart

2011-04-05T17:55:00.008+08:00

After Ali lost his younger sister Zahra's school shoes, the young duo agree that they will share his sneakers. However, they decide to keep it a secret from their parents. Ali and Zahra also deal with the obstacles along their way in this heartwarming and magnificent tale of family, kindness, and love. Ali and Zahra come from a financially poor family in urban Iran, but they are still happy because they only want what they need.

Writer-director Majid Majidi shows us how Ali and Zahra appreciate even the smallest of things. What seems nothing to other people means a lot to these children. They are called the "children of heaven" because they are like little angels; devoid of anger and pure in heart. The child actors, Amir Farrokh Hashemian and Bahare Seddiqi, are fascinating. Their emotions are raw. I've always thought that child actors are more engaging than their adult counterparts.

While other kids want to have the latest gadgets and toys, Ali and Zahra want nothing more than what they really need: school shoes. We can learn a lot from the children of heaven. 2003's Homerun and 2010's Bumm Bumm Bole are remakes of this film.

On the Set: Directors and Actresses

2011-03-30T23:00:00.004+08:00

Romy Schneider and Andrzej Zulawski on the set of
L'important c'est d'aimer (1974)

I love being on the set of a film, even though the closest thing I can get to an acting experience was a supporting role in a very amateur film (a college project). Or that accidental job for an educational TV program (I was in third grade). Seeing how the actors and directors act behind the camera has always been fascinating for me. The candidness of these people might even be more interesting to watch than the film that they're making.

Anna Karina and Jean-Luc Godard on the set of Alphaville (1965)

Diane Keaton and Woody Allen on the set of Annie Hall (1977)

Sissy Spacek and Brian De Palma on the set of Carrie (1976)

Faye Wong and Wong Kar-wai with Tony Leung Chiu-wai
on the set of Chungking Express (1994)

Whoopi Goldberg and Steven Spielberg on the set of
The Color Purple (1985)

Blake Edwards throws a pie at Natalie Wood on the set of
The Great Race (1965)

Federico Fellini and Giulietta Masina on the set of La strada (1954)

Stephane Audran, Claude Chabrol, and Jacqueline Sassard
on the set of Les biches (1968)

Sofia Coppola and Kirsten Dunst on the set of Marie Antoinette (2006)

Anne Parillaud and Luc Besson on the set of Nikita (1990)

Isabelle Adjani and Werner Herzog on the set of
Nosferatu the Vampyre (1979)

Bibi Andersson, Ingmar Bergman, and Liv Ullmann
on the set of Persona (1966)

Location: Fårö, Gotlands Iän, Sweden

Roman Polanski and Catherine Deneuve on the set of Repulsion (1965)

William Wyler and Audrey Hepburn on the set of Roman Holiday (1953)

François Truffaut and Claude Jade on the set of Stolen Kisses (1968)

François looks like he's in love with Claude.

Vivien Leigh and Elia Kazan with Tennessee Williams on the set of
A Streetcar Named Desire (1951)

It's a relief to see them smile because the tone of the film is very sad.

Ingrid Bergman and Roberto Rossellini on the set of Stromboli (1950)

Carole Bouquet, Angela Molina, and Luis Buñuel on the set of
That Obscure Object of Desire (1977)

The two actresses play the same character in the film.

Kim Novak and Alfred Hitchcock on the set of Vertigo (1958)

Gena Rowlands and John Cassavetes on the set of
A Woman the Influence (1974)

Was Zulawski possessed by Bergman?

2011-03-20T20:10:00.012+08:00

It's quite possible that some of Ingmar Bergman's visceral yet outstanding works inspired Andrzej Zulawski's nerve-racking but impressive 1981 film, Possession. Here are my reasons why.

1. The monologue of two Annas. Zulawski's Anna talks about fate and chance, cancer, madness, and her dissolving love for her husband. Bergman's Anna discusses the man in her life, her relationship with that man, and a ghastly accident. They may not talk about the exact same thing but their monologues are somehow identical. These women invite us to look into their soul. Both also look at the camera as if they're talking to the audience.

Bergman film: The Passion of Anna (1969)

Left: Isabelle Adjani in Possession.
Right: Liv Ullmann in The Passion of Anna.

2. Anna's wicked grin after she slapped Mark is reminiscent of Elisabet's smile after she slapped Alma.

Bergman film: Persona (1966)

Left: Adjani in Possession.
Right: Ullmann in Persona.

3. A main character passes by in the background more than once, while the other main character is closer to the camera, right corner.

Bergman film: Persona (1966)

Top: Adjani and Sam Neill in Possession.
Bottom: Ullmann and Bibi Andersson in Persona.

4. Possession is an allegory to divorce (Zulawski's divorce, specifically). And Bergman's 1973 film, Scenes from a Marriage, deals with divorce.

Left: Neill and Adjani in Possession.
Right: Erland Josephson and Ullmann in Scenes from a Marriage.

Roman Polanski's 1965 thriller, Repulsion, might also be an inspiration:

Left: Adjani in Possession.
Right: Catherine Deneuve in Repulsion.

Not only did Anna and Carol both kill two men, but the shot when Anna is beating Zimmermann also resembles the shot when Carol bludgeoned Colin.

Silence is Golden

2011-03-10T17:30:00.010+08:00

John Cassavetes once said that "silence means death." Cassavetes is one of the greatest filmmakers to ever walk the earth. He is also one of my favorites. (Shadows is a groundbreaking film.) But I have to disagree with him because silence is not necessarily synonymous with death. Most of the times, silence can be one's friend. It can give a person an adequate room for wisdom. We need silence in order to listen, not just hear.

I've always been fascinated with silent characters in talkies. There's usually an air of mystery attached to them. And I love mystery. They might deprive us of their voice, but they can sure leave an echo on our minds.

Here are some of my favorite silent characters. Characters that completely blew me away with their silence. (I've always thought that silent characters are usually challenging because an actor uses only body languages and facial expressions.)

Elisabet Vogler, Persona

As Elisabet Vogler, Liv Ullmann effectively communicates with the audience through the gestures she's tremendously good at: facial expressions. Elisabet is an actress who just won't talk. Her silence attracts Alma, a nurse assigned to take care of her. For me (and probably for Alma), Elisabet's silence is both frustrating and haunting.

Ada McGrath, The Piano

Ada is a pianist who finds herself trapped in an arranged marriage to a wealthy but frigid man. She finds refuge in George, a neighbor who has her most prized possession (her piano). She was played by the incredible Holly Hunter.

Girl, The Seventh Seal

Gunnel Lindblom's nameless character is quite a loner, but she's very gentle. Jöns, Antonius Block's squire, picked her up along the way and let her come with them. I find "Girl" to be the most engaging character in this gem of a film.

Mignon, The Wrong Move

Mignon is a young acrobat who accompanies an ex-athlete on what seems to be a road trip. She is kinda flirty. She fancies and seduces Wilhelm, an aspiring writer. Mignon was played by a 14 year-old Nastassja Kinski.

Miho, Sin City

This cutie is as deadly as a katana. Unlike Kevin (who is also silent), Miho is on the side of the good people. She was played by Devon Aoki.

Sarah Norman, Children of a Lesser God

James, a new teacher at a school for the deaf, falls for Sarah after seeing her arguing with a cook. At first, Sarah seemed bullheaded and quite annoying. But as the film moves on, she becomes more and more lovable. Just like what James said, Sarah is "mysterious, beautiful, and angry." Marlee Matlin gives an exceptional debut performance as Sarah.

"Gone with the Wind" of music videos

2011-03-05T21:30:00.010+08:00

I'm not really a big fan of Guns N' Roses. (I don't really dig guns or roses, I'm more into Nirvana.) But I find their music video for November Rain truly remarkable.

The music video was directed by Andrew Morahan (the same guy who directed George Michael's Faith). It depicts vocalist Axl Rose marrying his then-girlfriend, supermodel Stephanie Seymour. The music video also features Seymour in a sexy wedding dress designed by Carmela Sutera. There's also the festive wedding reception, which was sabotaged by a freakin' rain (a November rain, I suppose). Then there's the scene that broke my heart - the tragic dénouement. It illustrates the "'til death do us part" saying in such a piercing manner. To get a bigger picture of what's up with Axl and Seymour's characters, check out the band's music video for Don't Cry and Estranged.

The cinematography is one of the best things in November Rain. I love the helicopter shot. It gave justice to Slash's amazing guitar solo. The editing is awesome, especially during the flower throwing scene. And yes, I didn't know Axl and Seymour can be good actors too. They gave very good performances.

What I really loved about this music video is its cinematic impact. It's not just another music video. It's like the Gone with the Wind of music videos. Morahan's work for November Rain is something that inspired and will inspire other music videos. It has the power to haunt the viewer. Unforgettable.

Fave Movie Quotes: Agnes of God

2011-02-25T18:10:00.001+08:00

I was lying on the grass, looking at the sun. The sun became a cloud, and the cloud became...the lady.
- Agnes

Cinematography: West Side Story

2011-02-21T16:41:00.010+08:00

West Side Story (1961)

Directors: Robert Wise and Jerome Robbins
Cinematographer: Daniel L. Fapp

West Side Story is a film adaptation of the hit musical. Set in 1950s NYC, West Side Story is Romeo and Juliet with a whole new twist. Most audiences remember West Side Story because of its remarkable songs and choreography, but the film is also noted for its groundbreaking cinematography. Daniel L. Fapp won an Oscar® for his astonishing work in this film.

Fapp is a fan of silhouettes, and it is evident in quite a lot of scenes.

The lighting is usually playful.

Bird's eye view of Manhattan's West Side.

Bird's eye view of the staircase after Maria gets the bad news from Chino.

Beauty and Madness

2011-02-15T14:45:00.008+08:00

Go Muskies!

Every year the American Teen Princess Pageant is held; it's one of the oldest and most prestigious beauty pageants in the country. Sponsored by Sarah Rose Cosmetics, the pageant embodies the dream of an "American-made" girl: personal growth, scholarship, travel, and (eventually) fame. In the "God-fearing" town of Mount Rose, some teenage girls join the local pageant prior to the American Teen Princess Pageant. The contestants do everything they can to win the beauty contest. Backstabbing, barking, sabotaging a costume, naming and spelling all the United States, etc. You name it, they do it.

The contestants are a variety of weirdness. There's the (usually) lucky Amber Atkins (Kirsten Dunst), the bitchy Becky Leeman (Denise Richards), NY aficionado Lisa Swenson (Brittany Murphy), highly sexual Leslie Miller (Amy Adams in her first onscreen performance), there's even a girl who prefers to use the sign language even though she's not deaf or mute. Becky's mom, Gladys (Kirstie Alley), is the chairman of the local pageant. Becky and Gladys, being the evildoers that they are, manipulate the pageant in order for Becky to win. The biggest threat to them is Amber, an ambitious girl who dreams of getting out of Mount Rose and become a big-time reporter. Meanwhile, a documentary film crew provides a backstage pass to what really goes on behind the contestants' big smiles.

1999's Drop Dead Gorgeous is dead on when it comes to showing the audiences how ugly a beauty pageant can be, especially when there's people like Becky and Gladys around. Writer Lona Williams' (who also appears in the film) script hits home. She unmasks the hypocrisy that lies beneath the glamorous spectacle of beauty. The film's approach to the subject of beauty and madness is bold and witty, which makes it a hysterical comedy.

"This isn't an American Teen Princess Pageant. This is...this is...this is Nazi Germany!" - Amber Atkins

Existential Boredom

2010-12-10T22:00:00.003+08:00

Lots of significant events took place during the swinging '60s. The rise of the hippie culture. The names Che and Fidel became synonymous with the word "revolution." The Beatles conquered the music scene. And Neil Armstrong became the first person to land on the moon.

The '60s is also a fundamental year for cinema. For the first time, audiences saw James Bond on the big screen. The French New Wave emerged. Hitchcock made Psycho. Fellini made La dolce vita. It is also during this decade when dreamy filmmaker Michelangelo Antonioni made Blowup.

Antonioni's 1966 film stars David Hemmings as Thomas, a big-time fashion photographer. Thomas lives a hedonistic lifestyle. Marijuana here, sex there. But he is bored. After blowing up his pictures, Thomas discovers that he accidentally photographed a murder. He does everything to get the clear picture of the incident.

The film echoes the voice of Swinging London; the fashion, the music, and the lifestyle. All are captured in this melancholic film. In a way, Antonioni's British film is like a colored and more modern version of La dolce vita. The main characters from the two respective films are so fed up with their lives. And one event made them examine their existence.

Blowup also features a young Vanessa Redgrave as the woman who captivated Thomas' lens, I mean, heart. Carlo di Palma's cinematography is sweet as candy. (Kinda ironic because the film has a bitter ambiance in it.)

Blowup is one of Antonioni's best works as a director. It's (probably) his most disturbing film.

Isabelle at 18

2010-12-05T20:30:00.048+08:00

Before La boum (Sophie Marceau's breakthrough film), there was La gifle. This 1974 film is a coming-of-age dramedy featuring an 18 year-old Isabelle Adjani in her first major role. It also features Nathalie Baye in a supporting role.

La gifle, which means "the slap" in French, depicts the lives of teenagers in '70s Paris; but the film centers on Adjani's character, Isabelle Douléan. Isabelle is a medical student who lives with her dad, Jean (Lino Ventura). The fact that her parents (Ventura and Annie Girardot) don't live together anymore does not bother her that much. Love life, cute guy (Jacques Spiesser), annoying boyfriend (Francis Perrin), exam failure, and yearning for independence are some of the things Isabelle must deal with. These are like a slap in the face for her; it's something unexpected and painful at the same time.

The film also looks at the aspect of fatherhood; it shows us how Jean copes with being a single father to Isabelle. His daughter's transition to adulthood is a big slap for Jean. Isabelle is not a baby anymore; that's a slap Jean must endure.

The "childhood to adulthood" plot sounds mediocre, especially in this day and age. La gifle itself is not even spectacular. Audiences get to see Isabelle's first love, first heartbreak, first sex, etc. It's entertaining, but not that sensational. The chemistry between Adjani and Ventura is lukewarm. Adjani's chemistry with Yves Montand in Tout feu, tout flamme is better. The raw and charming performance of a youthful Adjani is what makes La gifle an endearing film.

La gifle takes us down the memory lane. It has a subtle power to remind us of our own adolescence. The film is good, but I've seen better ones. La gifle is strictly for Isabelle Adjani's fans only.

Simply Magical

2010-12-01T19:00:00.065+08:00

Wanting to spread felicity is human nature. The feeling that you get after making other people happy is priceless. Most people, even filmmakers, aim to be an instrument of genuine happiness.

Amélie isn't the first time French filmmaker Jean-Pierre Jeunet charmed the audience with his vivid imaginations. Delicatessen, his 1991 film co-directed with Marc Caro, is also packed with surrealist images.

Set in the romantic city of Paris, 2001's Amélie is an enchanting journey to happiness. Audrey Tautou is Amélie Poulain, a mousy and naïve waitress in Montmartre. As a young girl, Amélie created vibrant fantasies after being divested of an honest social life. She grew up appreciating even the simplest joys and beauties life has to offer. She is also detail-oriented. (The movie theater scene is a perfect example.) After an unforgettable event, our heroine consecrates herself to helping others experience happiness. But will she find her own happiness?

What makes Amélie a joy to watch is its bewitching narrative. Jeunet knows how to make his characters interesting; he regards even their unnoticeable eccentricities. He's like a child who appreciates things adults won't.

The film aims at making its audience happy. And it's a success in doing so. It shows and creates emotions. Because of Amélie's graceful pace, one might find himself smiling while watching this astounding piece of filmmaking.

Tautou shines in the role that made her an international star. Her unworldly appearance perfectly compliments the nature of her character. Audiences would probably remember her as the affable Amélie. The supporting cast, including Mathieu Kassovitz and Yolande Moreau, is strong as well. Cinematographer Bruno Delbonnel paints the screen with surreal but enchanting images.

Amélie will melt even the coldest heart. Jeunet's enchanting film is enticing in all its aspects. Simply magical. With Amélie, Jeunet created one of the finest treasures of French and world cinema.

It's Carrie, Not Cassie!

2010-11-30T17:05:00.059+08:00

The '70s was a decade of good horror films; Alien, The Exorcist, Halloween, The Omen, and Carrie. In 1976, acclaimed filmmaker Brian De Palma directed Carrie. The film starred the splendid Sissy Spacek as the title character. Carrie is the first Stephen King novel to be made into a film.

Based on King's 1974 novel of the same name, Carrie tells the dispiriting story of Carrie White (Spacek), a shy girl who discovers her telekinetic power. Carrie is maltreated by her religious fanatic mother. She's also ridiculed by her classmates because they see her as a social outcast. On the happiest night of her life, Carrie is coerced to use her supernatural power in a violent way.

Carrie is a big "fuck you" to all those jerks and bitches who like to make fun of their timid classmates. The film also depicts the downside of being too religious; how one can be detached from reality by being attached to religion in an unhealthy way.

Most of the cast, especially Spacek, are excellent. Pallid but pretty, Spacek remarkably personifies the fragile and tragic Carrie. Hers is one of the best performances you'll ever see onscreen. Piper Laurie is soooo scary as Margaret, Carrie's mentally deranged mother. As Chris Hargensen, Nancy Allen is bitchier than Rachel McAdams in Mean Girls. Allen is just so nasty in this film.

De Palma's use of the split screen is superb; it's very well executed. The editing is very smooth. Mario Tosi's photography during the climactic prom scene exudes an eerie ambiance to the film. Aside from the Psycho-ish music in some scenes, De Palma gives tribute to Alfred Hitchcock by naming Carrie's school "Bates High School."

Carrie is a horror film that is not just a horror film. De Palma perfectly balances the elements of horror, thriller, drama, and romance in this haunting film. To see more of De Palma's knack in making intelligent horror films, check out his 1973 film, Sisters.

Things I Learned from "Barbarella"

2010-11-30T15:00:00.032+08:00

Before she pioneered those work-out tapes, Jane Fonda starred as Barbarella. This 1968 film is directed by French filmmaker Roger Vadim. It's based on a comic book by Jean-Claude Forest. Set in a very distant future, Barbarella is about the adventures of a sexy woman tasked to find the ruthless Durand-Durand. It may not be as great as Citizen Kane, but Barbarella is indeed a guilty pleasure. It's one of the best cult classics. Ever.

I listed down the things I learned after watching this cult classic:

Stripping in zero gravity can be fun.
Nothing beats the music of the '60s.
"Love!" is a cool greeting.
Presidents won't even let you put on some clothes when they have something important to tell you.
You can have a nap for 154 hours.
Voice-overs are sometimes useless.
Always have a tongue box. You'll never know where you'll land next.
Creepy-looking kids are usually evil.
Dolls can be vampires too.
Men with very hairy chest usually want more than a "thank you."
Fur sucks.
Not all angels could fly.
Some earthlings are "soft and warm." And they also look like Jane Fonda.
Marcel Marceau can speak.
You can eat orchids.
When changed to "Duran Duran," Durand-Durand can be a good name for a band.
The Great Tyrant is a lady, and she also likes ladies.
Barbarella is her name. Not "Pretty-Pretty"!
Depriving Anita Pallenberg of a unique pleasure is a crime. Crime!
Unlike people, angels don't hold grudge.
Talking to yourself can make you look ridiculous.

A Dance Into Madness

2010-11-28T13:35:00.081+08:00

Rainy Vienna as a backdrop. Isn't that interesting? In 1974's The Night Porter, Italian filmmaker Liliana Cavani tackles sadomasochism and the Stockholm syndrome. Thanks to Charlotte Rampling's iconic costume, The Night Porter became Cavani's best remembered film.

Vienna, 1957---Max (Dirk Bogarde) is a middle-aged night porter at a fancy hotel. One fateful night, he sees Lucia (Charlotte Rampling). They were lovers during the World War II. Max was an SS officer, Lucia was a prisoner. He was the captor, she was the captive. Lucia, now married, reunites with Max. And they reignite their sadomasochistic love affair. Soon, Max will have a trial for his war crimes. Max and his former associates wash their hands by "filing away" the witnesses and destroying the documents. Max hides his "little girl" from his ex-comrades. What will Max do if they find out about Lucia?

Cavani portrays Max and Lucia as victims of fate. They share an odd romance at the wrong place, at the wrong time. What I found intriguing about the film is Max and Lucia's willingness to succumb into pure madness. Cavani shows us how far these characters would go to preserve their physically and mentally tormenting relationship.

Charlotte Rampling is stunning as Lucia. Compared to Dirk Bogarde, Rampling hardly had any dialogues in The Night Porter, but she managed to give a remarkable performance through mere facial expressions and body languages. (Rampling is very good with facial expressions. Remember that "staring scene" in Stardust Memories?) In this film, Rampling looks like a cross between Julia Roberts and Kate Moss. It is kinda distressing to watch Lucia, a supermodel-looking woman who goes back to her traumatic past. On the other hand, an effeminate and charming Bogarde is a revelation in this film. Bogarde makes Max look like two different characters. Rampling and Bogarde have an incredible chemistry, which is one of the film's strong points.

Just like Possession, The Night Porter is still a perplexing film for me (even after numerous viewings). Cavani was very effective in making a visually and psychologically perturbing film. With The Night Porter, Cavani made an ambitious film.

Reading The Past

2010-11-27T02:22:00.014+08:00

The Reader was on Star Movies a while ago. The film is directed by Stephen Daldry, the guy who introduced us to Billy Elliot. Daldry's 2008 film is set in Germany, after the second World War. It stars Kate Winslet and Ralph Fiennes.

Michael Berg (Ralph Fiennes), a lawyer, recalls the first time he met Hanna Schmitz (Kate Winslet), a kind and enigmatic woman who is almost 20 years older than him. They have a secret love affair. Hanna asks Michael to read for her because she prefers to listen rather than to read. Their affair ended after Hanna mysteriously left without a trace. Ten years later, Michael went to law school. As law students, Michael and his classmates are exposed to an actual trial, which had Hanna as one of the defendants. Turns out, Hanna was an SS officer during the World War II. The Holocaust survivors point out Hanna as one of the officers responsible for the death of their fellow prisoners. What follows is Hanna's reason why she makes other people read for her; a sad revelation that even Michael didn't know until the trial.

Although the film is called "The Reader," Hanna had a heavier character weight than the reader himself, Michael. They inspire each other, but she inspires him more. She occupies his thoughts. Their affair is very short. But Michael still can't forget Hanna, his first love. What he shared with Hanna was the most poignant relationship he ever had. Michael and Hanna knew that theirs is a forbidden love; but they felt a deep connection with each other. And that connection tied them together.

Kate Winslet is very compelling as Hanna Schmitz. I really think that this is one of her best performances. Hanna's innocence and her tragedy are brilliantly portrayed by Winslet. Ralph Fiennes is undeniably a good actor. But he's just outstaged by Winslet and David Kross (who played the younger Michael).

Stephen Daldry did a great job with The Reader. He lets us watch and experience something heartbreaking. The cinematography is very nice; the photography during Hanna and Michael's trip was breathtaking. The makeup is magical; you can see how Kate Winslet will look like 30 years later. The music is usually somber; it adds an air of dysphoria to the film.

Daldry's film shows us that no matter how we run away from the past, it will always find us. It's sad, but it happens.

Rebels With A Cause

2010-11-23T12:05:00.088+08:00

World War II. It's one of the events that forever changed the face of the world. It's also a product of a man's dream of building his own empire. World War II is synonymous to nightmare.

There are a lot of films out there that showed the horror and drama of World War II. But only few really enthralled me. Examples are The Pianist and A Generation; those are two of the films that stayed with me. Those films were able to show life during the war in such a realistic fashion. The latter film is directed by acclaimed Polish filmmaker Andrzej Wajda.

A Generation is about a group of young people in German-occupied Poland. This 1955 film is Wajda's first feature film; it's also the first part of Wajda's World War II trilogy (the other two being Kanal and Ashes and Diamonds). A Generation also features a young Roman Polanski in a supporting role.

The film is narrated by Stach (played by Tadeusz Lomnicki), a young man driven to put an end to Nazis' cruelty. He meets Dorota (played by Urszula Modrzynska), a high-ranking official of Union of Fighting Youth. Stach eventually joined the resistance movement and falls in love with Dorota. He recruits his friends for the movement. Together they are all set to conquer the occupiers.

Having experienced the war himself, Andrzej Wajda paints a poignant portrait of a generation fighting for their freedom. A Generation's opening credits are superimposed with a wide panning shot of a Warsaw slum. The panning technique was very effective because Wajda was able to tell a story without any use of dialogue.

A Generation aims to tell us how far these young souls would go for their cause. Wajda fuses drama, thriller, comedy, and romance; all in just 83 minutes. I think the film's cigarette sharing scene inspired Luc Besson to recreate it in his 1985 film, Subway. The film has excellent framing compositions. Some shots are Hitchcockian; especially the staircase scene. The slightly murky texture of the film compliments the gloomy backdrop of the story. Tadeusz Lomnicki perfectly embodies Stach. Although he has a strong physique, Lomnicki exudes this child-like innocence (which Dorota mentioned in one scene).

Almost everything in A Generation is remarkable; from the notable opening scene to the heart-wrenching ending. Seeing the characters' determination is simply inspiring. I found this film very compelling because I found some of me in it.

The Great Kahn

2010-11-22T16:05:00.046+08:00

I watched Mel Brooks' Blazing Saddles again the other day. The 1974 film features Madeline Kahn as Lili Von Shtupp. She is a "Teutonic titwillow" hired by the greedy and ruthless Hedley Lamarr (Harvey Korman) to "seduce and abandon" the film's protagonist, Bart (Cleavon Little). Brooks based Lili Von Shtupp on Marlene Dietrich's character in Destry Rides Again; the image, the speech, and the body language. One of my favorite scenes in Blazing Saddles is Kahn's celebrated musical number, I'm Tired. Kahn's enormous aptitude for comedy makes the scene very amusing. Unlike most comedians, Kahn can be really funny without going over the top; that's what makes her an extraordinary performer.

I'm Tired
Written by Mel Brooks
Performed by Madeline Kahn

Here I stand
The goddess of desire
Set men on fire
I have this power
Mowning, noon, and night
It's dwink and dancing
Some quick womancing
And then a shower
Stage door johnnies always suwound me
They always hound me
With one wequest
Who can satisfy their lustful habits?
I'm not a wabbit!
I need some west

I'm tired
Sick and tired of love
I've had my fill of love
From below and above
Tired
Tired of being admired
Tired of love uninspired
Let's face it
I'm tired

I've been with thousands of men
Again and again
They promise the moon
They always coming and going
And going and coming
And always too soon!
Right, girls?

I'm tired
Tired of playing the game
Ain't it a cwying shame?
I'm so tired
God dammit I'm exhausted

I'm tired
Tired of playing the game
Ain't it a cwying shame?
I'm so tired

Soldiers:
She's tired
She's tired
Sick and tired of love
Give her a break
She's had her fill of love
She's not a snake
From below and above
Can't you see she's sick?
Tired
She's bushed
Tired of being admired
Let her alone
Tired of love uninspired
Get off the phone
She's tired
Don't you know she's pooped?

Lili:
I've been with thousands of men
Again and again
They sing the same tune
They start with Byron and Shelley
And jump on your belly
And bust your balloon!
Aye!
Tired
Tired of playing the game
Ain't it a fwiggin' shame I'm so...
Let's face it
Everything below the waste is kaput!

A Trio, Not A Quartet

2010-11-17T19:45:00.063+08:00

Merchant Ivory's Quartet is set in 1920s Paris. This 1981 film stars Isabelle Adjani as Marya, a hapless young woman adrift with her husband, Stephan (played by Anthony Higgins). She finds herself financially dry after Stephan is sent to jail for theft. Alan Bates and Maggie Smith are H.J. and Lois Heidler, an unorthodox British couple who helps Marya by letting her live in their humble abode. Of course their help is not unconditional.

Marya is a naïve, sad character. Oh, did I mention she's beautiful? (Well of course she's played by Isabelle Adjani!) According to Lois, "people say she's from Martinique or some place." As a down-and-out foreigner in Paris, Marya is having a hard time looking for a decent job. That's why Marya wastes her time thinking how unhappy she is. So unhappy that she becomes H.J.'s mistress. Lois, being a martyr that she is, tolerates her husband's infidelity. I expected a lot more from Isabelle Adjani's character. But Marya is just desolate, that's all. There's nothing more to expect from her.

According to Marya's friend, H.J. is "a very important man. He makes discoveries. He helps young people. He has flair." On the other hand, Lois is a painter, but we can see her painting in only one scene. H.J. and Lois, just like their friends, enjoy partying, eating, and talking about other people. They are utterly concerned about their reputation. In other words, they're boring.

Stephan is a not-so-legal art dealer. (You can't be legal when you steal one of Napoleon Bonaparte's swords.) He is quite unusual because he is a Pole who speaks perfect English without any accent. But he is a charming man; much more charming than Alan Bates' H.J. However, we don't get to see much of him in this film.

The trio in Quartet: Maggie Smith, Isabelle Adjani, and Alan Bates.

Quartet should have been called "Trio," because Stephan is relegated as a mere benchwarmer in a game mostly played by Marya, H.J., and Lois. The film is based on an autobiographical novel by Jean Rhys, whose life story looked much more interesting than that of Marya's. Rhys was a novelist who had an affair with the married Ford Madox Ford. Her story is kinda like that of Camille Claudel's (as portrayed in Bruno Nuytten's film).

Isabelle Adjani is a brilliant actress. But that brilliance seemed elusive in this film. Maybe it's because her character is so thin. Maybe it's because she gave her all in Possession, that's why there's nothing left for Quartet. Or maybe it's because she's intimidated by Maggie Smith's presence. I don't know. Her line delivery is usually flat, to the point of being emotionally monotonous. This is just not one of her best performances. (Check out her "Why not? Why not?" scene.)

I can see why Maggie Smith is Maggie Smith. She carries her character very well. Smith perfectly exhibits the traits of a British aristocrat, and she also makes us feel Lois' heartbreak. Her breakdown scene is remarkable. As a big fan of Isabelle Adjani, I hate to say this, but Smith stole the show from Adjani.

Richard Robbins' music is both evocative and sensual. (Armelia McQueen's performances are unforgettable.) Pierre Lhomme's photography, although usually dark, is quite excellent; it reflects Marya's despondency. Lhomme also captured the bohemian atmosphere of Montparnasse.

In terms of its technical aspects, Quartet is splendid. But its narrative is, oh well, boring. Painfully boring. Quartet is like a thick crust pizza on the outside, but a thin crust pizza on the inside.

Not For The Depressed

2010-11-15T13:45:00.008+08:00

Jerry Schatzberg reached a cinematic high with 1971's The Panic in Needle Park, (probably) his best-remembered film. The film also served as Al Pacino's calling card for the Michael Corleone part in The Godfather.

The Panic in Needle Park is about a group of junkies in needle park, but the film's focal characters are Bobby and Helen. They are trapped in needle park. Although they're not in prison, they are captives. Pacino is Bobby, and Kitty Winn is Helen.

According to Wikipedia, "needle park" is the nicknames of Verdi Square and Sherman Square on NYC's Upper West Side near 72nd Street and Broadway. In the '60s and '70s, Verdi Square and Sherman Square were known by local drug users and dealers as needle park.

The Panic in Needle Park is less stylized compared to Trainspotting, which also had heroin addiction as its leitmotif. The wonderful thing about Schatzberg's film is it approaches the audience in a very casual way, no sugarcoating or whatsoever. It almost looked like a documentary. The film doesn't have any music at all; the actors barely have any makeup on. Schatzberg uses the elements (e.g., extreme close-ups, shaky camera) that can be found in truthful cinema, also known as cinéma vérité.

Helen: "I don't want to wake up alone."
Bobby: "I don't want you to. But it happens sometimes."

Helen is a character who is scared of being alone. She found comfort in Bobby, that's why she's too afraid to leave him. Inside this woman is a lost child. Kitty Winn is emotionally arresting as Helen. Her cuteness makes it more hard for the audience to see her in such plight. Winn's portrayal of Helen stays with you, just like the film itself. That scene with the puppy on the ship is heartbreaking. For her performance in this film, Winn won the Best Actress Award at the Cannes Film Festival. Al Pacino has always been a charismatic presence onscreen even before The Godfather. In here, Pacino is like an amateur Michael Corleone.

The film does not babysit the audience. Schatzberg leaves it to the audience to experience what these characters are going through, and how fucked up their situation is. Schatzberg does not attempt to play god by preaching suggestions on how to solve the character's problems. Instead, he opens our eyes to Bobby and Helen's problems. We know from the start that Bobby and Helen won't experience a "happily ever after" kind of ending; that their lives won't change as long as they're stuck in places like needle park, or as long as they don't stop shootin' up. Life for Bobby and Helen would be an endless cycle of misery. They are like the characters in La haine, a 1995 French film about the lives of three young men in a repressive suburb.

The Panic in Needle Park is a rare film. It is a film that honestly looks at real issues; very few films do that nowadays.

The Battle of Good Vs. The Thick Pea Soup

2010-11-13T03:00:00.002+08:00

To rotate your head 360 degrees is one thing. To be considered as a great film after all these years is to be The Exorcist. William Friedkin's most popular film tackles the not-so-new subject of good versus evil. This time, Friedkin adds his own blend of spice to one of the overused plots in the history of cinema. With this film, Friedkin seduces us with his knack for subtle scenes, then breaks our hearts by showing us scenes even the most unfeeling person would be shocked to see. The film stars Ellen Burstyn, Linda Blair, Jason Miller, and Max von Sydow.

The first scene introduces us to the title character that is generally addressed in the film as Father Merrin (Max von Sydow). We can see him at an archaeological site in Iraq. Father Merrin is an experienced exorcist who is currently not in the pink of his health. On the other hand, Chris MacNeil (Ellen Burstyn) is a film actress on location in Georgetown, Washington. She's also a doting single parent to Regan (Linda Blair), a pampered 12 year-old girl. All seems well until Regan manifests a bizarre behavior and a horrific physical change. Medical and psychiatric treatments didn't work. Chris, believing that Regan is possessed by a demon, seeks the help of Father Karras (Jason Miller), a Jesuit priest who is also a psychiatrist. Incidentally, Father Karras is also battling his own demon. He feels guilty about his mother's death, and thinks that he's losing his faith. Father Karras tries to convince the church to let him do an exorcism on Regan. Father Merrin enters the picture again.

The Exorcist might scare the audience by illustrating how strong evil can be, but it also gives us a pat in the back by showing us that evil can be fought. If evil is powerful, so is faith. The film also features one of the sweetest mother-daughter relationships onscreen. Chris is not a typical actress-mom; she stayed with Regan through thin and thick pea soup. William Peter Blatty based the characters Chris and Regan MacNeil on Shirley MacLaine and her daughter (no, MacLaine's daughter was not possessed).

The 13 year-old Linda Blair, who injured her back during filming, is simply remarkable as Regan. Her transformation from a sweet little darling to a possessed creature is incredible. The Exorcist wouldn't be as scary as people think it is if it weren't for Mercedes McCambridge's performance. McCambridge is astounding as the voice of the possessed Regan. Ellen Burstyn gave a very good performance as (the usually hot-tempered) Chris; this is definitely one of her best performances. But The Exorcist turned out to be Linda Blair's show.

Cinematographer Owen Roizman pays homage to the film noir genre; we can see quite a lot of shots that spell "film noir." Dick Smith's work is astounding. Who would have thought that Father Merrin is played by a 43 year-old actor? The musical score gives you that "shivers down the spine" feeling. The film features Mike Oldfield's Tubular Bells, a track that probably wouldn't be this popular if it weren't for The Exorcist.

The Exorcist was a huge hit when it came out in 1973. It also inspired a lot of films. A year after the film's release, a Turkish film called Seytan came out (it's basically a frame by frame photocopy of The Exorcist). Linda Blair starred in Repossessed, which is a hilarious take on the film that made her famous.

Why is The Exorcist still a hit? It's because of people's endless fascination with demon possession. Most people, believer or non-believer, are intrigued by demon possession. More often than not, they will ask how and why such thing happens. The Exorcist, in a way, was able to answer those questions.

For me, The Exorcist is not that scary. It's disturbing. I found the film disturbing because of the fact that demon possession happens in real life. Evil is real, and it's everywhere. And The Exorcist was able to show me that.

No Plot Necessary

2010-11-10T09:45:00.083+08:00

Dym, which means "smoke" in Polish, is an enigmatic short film by Grzegorz Cisiecki. It's about a young man (played by Grzegorz Golaszewski) driven to surreal reverie after turning on a cassette recorder.

We can see different kinds of smoke in the film, but the significance of the title is not fully explained; and I don't think elaborating the film's title is the main objective of Cisiecki. Based on what I've seen, the idea of Dym is to present a mosaic of a man's (generally) obscure dreams, and Cisiecki was successful in doing so. Just like Akira Kurosawa's Dreams, Dym is a dream on film.

Cisiecki's film has no definite plot, and it doesn't need one. Most of Luis Buñuel's best-remembered films didn't have any plot at all (e.g., Un chien Andalou, The Discreet Charm of the Bourgeoisie). Considering the film's narrative aspect, Dym is like a lovechild of Andrzej Zulawski and Buñuel. But Cisiecki has a style of his own; he jumps from one scene to another without losing the audience, not even once.

Golaszewski's dreamy face compliments the ethereal atmosphere of Dym. He's like a fragile boy lost in one of his phantasmagorias, and you can't help but feel concerned about him. Dym has one of the most intricate frames I've ever seen. The camera composition is almost flawless. Dawid Rymar's sumptuous cinematography makes Dym look like a beautifully-filmed dream. Though not usually present in the film, Aleksandr Porach's music exudes a haunting aura.

If you're a big fan of films that spoonfeed its audience, then Dym is not for you. Dym is one of those films that challenges its audience to think. Some scenes made me ask if the people in Edgar's dreams (e.g., the fat man, and even the girl) are his symbolization of his own self. As an aspiring filmmaker, I consider Cisiecki's Dym as one of the most insightful films I've ever seen.

Dym, a film by Grzegroz Cisiecki:

♥ L'amour est enfant de Bohème ♥

Fave Movie Quotes: Dead Men Don't Wear Plaid

2010-11-07T20:10:00.001+08:00

Juliet Forrest: But what does "Foc" mean?
Rigby Reardon: It's a slang word. It's when a man and a woman are in love, the man puts his...
Juliet Forrest: No, no. Written here: "F. O. C."

♥ L'amour est enfant de Bohème ♥

The Tale of a Neglected Child

2010-11-05T10:00:00.017+08:00

After starring as the (literally) head-turning kid in The Exorcist, Linda Blair went on to star in a made-for-TV movie called Born Innocent. The film is a poignant drama about a teenager named Chris Parker.

A persistent runaway, Chris is turned over to the state's hands. Upon learning that her family gave up on her, Chris might have thought, "WTF! I need my family, not the state, to take care of me!" She is eventually sent to a juvenile detention center for girls. Turns out, the center is not the place to be. It's as abusive and callous as Chris' parents (played by Richard Jaeckel and Kim Hunter). The center added more wound to Chris' already injured soul.

On the bright side, there's Counselor Barbara Clark (played by Joanna Miles), whom the girls affectionately call "Mom." Mom reaches out to Chris because she saw the girl's eagerness to learn. She's also fascinated by Chris' ambition to become a flight stewardess. Mom is the only one in the film who really cared about Chris.

The film's title refers to Chris; she arrived at the juvenile detention center as a naïve young girl. The center's harsh environment would later mold her into a delinquent. Chris is not even a delinquent in the first place. She's just a daughter longing for her parents' warm love. I think that explains why she's crying during her first shower scene; people have been cold to her, and she can't feel the warmth her parents should give her.

Born Innocent portrays the cruelty society can bring, and how that cruelty can put a child in bad shape (emotionally and psychologically). Donald Wrye's pragmatic interpretation of Creighton Brown Burnahm's book makes Born Innocent a deeply moving piece of filmmaking.

Linda Blair is compelling as Chris Parker. After seeing her remarkable performance in this film, I thought, "There's more to Linda Blair than Regan MacNeil." It was not hard for me to connect with Chris because Blair made it easy for me to understand and feel what Chris is going through.

Born Innocent was made during the era of bell-bottom jeans, but the film's message is timeless. The film speaks for all the neglected and misunderstood adolescents out there. It can also serve as a Child Caring 101 for parents.

Trailer for Born Innocent:

♥ L'amour est enfant de Bohème ♥

Fave Movie Quotes: The Tenant

2010-11-04T15:10:00.003+08:00

Trelkovsky [in drag, looking at himself in the mirror]: Beautiful. Adorable. Goddess. Divine. Divine! I think I'm pregnant.

♥ L'amour est enfant de Bohème ♥

This Is Why Pinoy Horror Movies Suck

2010-11-03T17:10:00.051+08:00

Before I start with my short critique of Sanib, I would like to post my appeal to (most) Filipino filmmakers:

Dear (most) Pinoy movie directors,

PLEASE stop insulting the audience by making photocopied films. We, the audience, are not stupid. We don't want to see what we've already seen before. Please stop doing what Brocka, Bernal, and De Leon already did. Please stop copying other films, may it be a Hollywood classic, a hit Japanese horror movie, a French indie film, or whatever.

You are not a photocopier operator, you ARE filmmakers. And filmmakers cultivate their own ideas, so please do so.

We're not here to experience deja vu, we're here to see something authentic. Please try harder to make bona fide films. Thank you in advance.

Sincerely,
Your audience

Sanib (2003)

Director: Celso Ad. Castillo
Writers: Celso Ad. Castillo & Rob Bryant
Cast:
Aubrey Miles as Melissa

Do you know why most Pinoy horror movies are not scary? It's because of films like Sanib. Sanib is derived from the word pag-sanib, which means possession in Tagalog. Sanib, the film, has no originality; it's so predictable it loses its scare factor.

Sanib is a ridiculous and blatant attempt to copy The Exorcist. The Regan character is named Melissa. Regan, I mean, Melissa is a fashion designer. She's engaged to be married to a character that almost seemed unnecessary to the film's plot development. Knowing that Melissa's about to marry this guy is enough. Do you really have to present her boyfriend like he's a saling-pusa (occasional player)? The house of Melissa's parents---does it really have to resemble a haunted house just to look scary? The house in The Exorcist does not look like a haunted house, but it looked scary.

It might have tweaked and tuned some things, but Sanib obviously borrowed a lot of elements from the 1973 classic:

1. A demon-possessed girl. (Do "possession" movies really need a girl as the possessed character? I want to see a possessed guy in a movie.)
2. A young priest and a not-so-young priest exorcising the demon-possessed girl.
3. During the climactic possession scene, the demon-possessed girl is clad in a white nightgown.
4. The demon-possessed girl is, of course, tied to her bed the way Regan was tied in William Friedkin's film.
5. The demon-possessed girl's make-up.
6. The young priest is tormented by the devil by bringing up his past; he blames himself for the death of his loved one (this time a son).
7. The mother is the only relative to witness the girl's climactic possession. (Ellen Burstyn, is that you?)

For the sake of "originality," they left the head spin, the thick pea soup, and the levitation scene alone.

Just like most Filipina actresses nowadays, Aubrey Miles is a gorgeous lady and an unconvincing actress. Her acting is kulang (incomplete). She looks like she's performing in some high school play or something. For best results, acting should be treated like a religion; it should be done with faith.

Jesse Lucas' music stands out; it's the only thing I liked in this film. Sanib's main theme is reminiscent of Jerry Goldsmith's Ave Satani (The Omen's main theme). It's a very good piece of music. Unfortunately, it's not enough to make Sanib scary.

A celebrated Filipino filmmaker, Celso Ad. Castillo failed to do what Friedkin did in The Exorcist, which is to seduce the audience with subtle scenes, and then break their hearts with the (figuratively) head-spinning climax.

Sanib has no tension build up (and I'm a sensitive audience). The film's climax is disappointing and preposterous. What a lazy effort. Sanib is nothing but a second-rate, trying hard copycat of The Exorcist. In other words, Sanib is not worth watching. (Unless you have a lot of time to waste.)

♥ L'amour est enfant de Bohème ♥

A Brilliant Nightmare

2010-11-01T10:10:00.001+08:00

There was Tony Montana, Jett Rink, Charles Foster Kane, and Michael Corleone. Then there's Daniel Plainview. They are a bunch of avaricious bastards; men who want a second meal even though they're not yet finished with the first one. They are successful businessmen on the outside, but tragic human beings on the inside. They have themselves as their worst enemy. Among those antiheroes, Daniel Plainview is the scariest. He's a nightmare. (And I'm not talking about the mustache.)

Daniel Plainview is a miner until he suffered a broken leg. The oil business seemed like a perfect match to Daniel's ambitious nature. Along with his charisma and a cute baby boy, Daniel embarked on a journey that would shape the future of his oil business. He persuaded people to let him irrigate their land and bought their oil lesser than its worth.

His business is a big success, and it's scary. Daniel's success is frightening because it would serve as an instrument for his destruction; it would offer him wealth and threat at the same time. Daniel would do anything to stay on top. For him, people are like cockroaches that he need to exterminate.

Paul Thomas Anderson combines drama, thriller, and comedy in this flaming tale of ambition, success, and greed. He balances the film's dramatic theme with his flair for dark humor. Anderson is probably one of the versatile filmmakers alive. Who would think that he's the same guy who directed Boogie Nights, Magnolia, and Punch-Drunk Love? In my opinion, There Will Be Blood is the distinctive one among Anderson's films. One might see some elements used in Giant (e.g., oil business, self-destructive man), but There Will Be Blood has a fire of its own. Unlike in Magnolia, there are no long takes in this film, mostly close-ups. The film's music infuses terror; you'll know when there's trouble approaching.

Now I know why most audiences love this guy named Daniel Day-Lewis. I think it's because you can't see any of him in this film. He wears his character like it's a piece of clothing; a piece of clothing that he flaunts very well. The body language, the voice, and that monstrous facial expression are remarkable.

There Will Be Blood shows the audience that when there's greed, there's blood (figuratively and literally). It also aims to tell us that money, indeed, cannot buy happiness. Success and power cannot make a person greater than the other. Just like H.W., I thank God I have none of Daniel Plainview in me.

Trailer for There Will Be Blood:

♥ L'amour est enfant de Bohème ♥

Guys I'm Currently Nuts About

2010-10-10T10:00:00.104+08:00

The title is self-explanatory. I feel like a smitten schoolgirl whenever I write this kind of list. Haha! :P

1. Won Bin

Born: Kim Do-jin in Jeongseon, Gangwon-do, South Korea
Birthdate: November 10, 1977

Won Bin is one of the biggest stars in Korea, or should I say, throughout Asia. He has only five films to his credit, but that doesn't mean Won Bin is a lousy actor. He's a brilliant actor (check out 2009's Mother) who happens to be quite picky about his roles. I first saw this guy on Endless Love: Autumn in my Heart, and have been a fan ever since. He is currently starring in The Man from Nowhere.

2. Bruno Todeschini

Born: Bruno Todeschini in Neuchâtel, Switzerland
Birthdate: September 19, 1962

The guy who seduced Catherine Deneuve's character in My Favorite Season. (Remember the bench scene?) He's also Daniel Auteuil's tragic ally in Queen Margot. Bruno may have small screen time in those films, but he didn't fail to steal the show from the lead actors even just for a while. Bruno may not be as big of a star as, let's say, Vincent Cassel, but he's hardworking, ravishing, and definitely worth the screen time.

3. Barnabé Saïd-Albert

Born: Barnabé Nuytten
Birth year: 1979

Photos courtesy of Cleps Puig.

Barnabé is the lead singer and rhythm guitarist of Makali, a French reggae/folk/rock band formed in 2003. Makali started out having gigs in bars and cafes before being signed by Mercury. Right now, I'm addicted to their song, "Mais Bon!" Barnabé is as charming as Makali's music. He is the son of actress Isabelle Adjani and cinematographer turned director Bruno Nuytten. (No wonder he's beautiful.)

4. Keanu Reeves

Born: Keanu Charles Reeves in Beirut, Lebanon
Birthdate: September 2, 1964

Whoaaa!!! Dude! When I saw Speed in 1995, I can't help but become fascinated by its astounding action sequences and its gorgeous lead actor. Keanu is also a bassist for bands like Dogstar and Becky.

5. Takuya Kimura

Born: Takuya Kimura in Tokyo, Japan
Birthdate: November 13, 1972

Like Won Bin, Kimutaku (Takuya's nickname) is a big star, not just in his home country, but in the rest of Asia as well. In 1999, he became a spokesperson for Levi's. Kimutaku is one of those celebrities who made a pair of jeans look sexy. He recently co-starred with Josh Hartnett in I Come with the Rain (one of 2008's biggest flops).

6. Daniel Henney

Born: Daniel Phillip Henney in Carson City, Michigan, USA
Birthdate: November 28, 1979

Before he became Agent Zero in X-Men Origins: Wolverine, Daniel started out as a model. As a model, he has worked in France, Italy, USA, Hong Kong, and the Philippines (he was a Bench model). Then, he went to his mother's home country, Korea, and starred in the TV drama My Name is Kim Sam-soon. After starring in the short-lived US drama Three Rivers, Daniel returned to Korea, where he is currently co-starring with Rain in The Fugitive: Plan B.

7. Andy Garcia

Born: Andrés Arturo García Menéndez in Havana, Cuba
Birthdate: April 12, 1956

Andy Garcia - tall, dark, and handsome. Before he became the Andy Garcia, Andy worked as a part-time waiter. (Is the waiter on the menu?) Then he got his big break when Brian De Palma hired him as one of The Untouchables. He's especially lovely in When a Man Loves a Woman.

8. Fernando Carrillo

Born: Fernando Carrillo Roselli in Maracaibo, Zulia, Venezuela
Birthdate: January 6, 1966

He is best known to telenovela enthusiasts as Thalia's love interest, Fernando Jose, in Rosalinda. With his romantic good-looks, perfectly sculptured body, and charismatic personality, Fernando can overthrow Rudolph Valentino or Marcello Mastroianni as the Latin lover. Fernando is currently in Hollywood, starring in not-so-major films.

9. Pierce Brosnan

Born: Pierce Brendan Brosnan in Navan, Co. Meath, Ireland
Birthdate: May 16, 1953

My favorite James Bond. Pierce is one of those men who look dashing in a suit. Before becoming 007, Pierce starred in the hit '80s TV series Remington Steele. When he's not making films, Pierce enjoys painting. The way this man carries himself is admirable.

10. Jason Behr

Born: Jason Nathaniel Behr in Minneapolis, Minnesota, USA
Birthdate: December 30, 1973

Jason is best known as that beautiful alien, Max, in the hit TV series Roswell. Before starring in Roswell, Jason guest starred on several TV shows, including Dawson's Creek. His career never really took off though. But he's still very attractive.

♥ L'amour est enfant de Bohème ♥

Scare Fest

2010-10-08T21:00:00.012+08:00

Horror films. They usually make you not want to go to the bathroom and have a midnight wee-wee. They can also make you sleep with the lights on. Or they can simply make you paranoid. Despite the effects, one can't help but enjoy the fright these films have to offer. I know it's not November yet. But still! :P

These are some of the films that still terrify me after all these years.
[In alphabetical order.]

1. 28 Days Later... (2002)

A man wakes up from a deep coma only to find London empty. Apparently, lots of people were infected by a virus that turns them into zombie-like creatures.

2. Children of the Corn (1984)

Adults, BEWARE!!! A peculiar boy named Isaac leads a cult composed of children. The cult's mission is to "eliminate" the adults in the fictional town of Gatlin, Nebraska. They fulfill their horrific mission for the sake of "He who walks behind the rows." The film is based on Stephen King's short story.

3. The Exorcist (1973)

The spinning head, the spider walk, the crucifix, and the disgusting green thing. An unforgettable horror film. Need I say more?

4. Funny Games (1997) and Funny Games U.S. (2007)

A family is held hostage at their own vacation house. The hostage takers ---two psychotic young men clad in white outfit--- demand that the family take part in their not-so-funny games. The original Austrian film and the Hollywood remake were both directed by Michael Haneke.

5. The Omen (1976)

A diplomat adopts a child who turns out be the Antichrist. After The Omen's 1976 success, the name 'Damien' and the number 666 have been associated with the film. Jerry Goldsmith's Ave Satani adds more terror to this classic film.

6. Poltergeist (1982)

A family gets the nightmare of their life when a bunch of ghosts haunt them in their own home. Beware of that white noise! Haha! :P

7. Psycho (1960)

This is probably Alfred Hitchcock's most popular film. It tells the story of a mentally unstable man, Norman Bates, who is possessed by his dead mother. Bates commits crimes when he is his mother. Considered as a masterpiece by most film critics, Psycho is fascinating in all its aspects. From the famous title sequence to the remarkable ending, every frame in Psycho is worth watching.

8. Rosemary's Baby (1968)

Rosemary and Guy Woodhouse move into their new apartment in NYC. Their neighbors are cult freaks who, along with Guy, offer Rosemary to their master, Satan. Eventually, Rosemary is impregnated by Satan. Sick.

9. Se7en (1995)

A pair of detectives investigates a series of murders that are based on the Seven Deadly Sins. Thou shall not commit any of the Seven Deadly Sins! Otherwise you'll end up as one of John Doe's victims.

10. The Shining (1980)

Jack Torrance and his family move into the Overlook Hotel after he accepts the winter caretaker job. Jack becomes possessed by an evil soul, which instructs him to "destroy" his wife and son. Danny, the son, has the gift of "the shining," which might save him and his mother from the possessed Jack. Another film based on a Stephen King story.

♥ L'amour est enfant de Bohème ♥

Most Beautiful Actresses of All Time...so far (2010 Revised Edition)

2010-10-01T10:00:00.027+08:00

"There are no ugly people, only strange beauties." - Anonymous

Beauty is omnipresent and perpetual. It is everywhere if you just open your eyes to it. Beauty is for everyone. All of us can be beautiful in our own distinctive ways. That's why I believe that there's no such thing as ugly people. What makes a person so different to label another person "ugly"?

Beauty is also present in cinema. Beauty is indeed ubiquitous. There are many beautiful film actresses out there. IMHO, here are some of the actresses whose beauty is just...captivating. For some reason, I'm always drawn to women who kinda look like those cute anime characters --- e.g., Isabelle Adjani, Kristin Kreuk, Chiaki Kuriyama, and Christine Pascal.

[In alphabetical order.]

1. Isabelle Adjani

Born: Isabelle Yasmine Adjani
Birthdate: June 27, 1955 in Paris, France

Best features: Her enchanting blue eyes, her sensual mouth, her porcelain white skin, and her smile.
At her most beautiful: Mid '70s to mid '80s.
Recommended films: The Story of Adele H. (1975), Subway (1985), and Possession (1981).

2. Catherine Deneuve

Born: Catherine Fabienne Dorléac
Birthdate: October 22, 1943 in Paris, France

Best features: Her mesmerizing hazel (?) eyes, her smile, and her cheekbones.
At her most beautiful: Late '60s to early '80s.
Recommended films: Belle de jour (1967), The Hunger (1983), and Écoute voir... (1979).

3. Audrey Hepburn

Born: Audrey Kathleen Ruston
Birthdate: May 4, 1929 in Ixelles, Belgium
Date of death: January 20, 1993 in Tolochenaz, Switzerland (cancer)

Best features: Her dazzling eyes, her cheekbones, and her sweet smile.
At her most beautiful: Mid '50s to late '60s
Recommended films: Charade (1963), Breakfast at Tiffany's (1961), and How to Steal a Million (1966)

4. Nastassja Kinski

Born: Nastassja Aglaia Nakszynski
Birthdate: January 24, 1960 or 1961 in Berlin, Germany

Best features: Her sensual mouth and her piercing eyes.
At her most beautiful: Late '70s to late '80s.
Recommended film: Tess (1979)

5. Kristin Kreuk

Born: Kristin Laura Kreuk
Birthdate: December 20, 1982 in Vancouver, B.C., Canada

Best features: Her striking green eyes and her girlish smile.
At her most beautiful: Early 2000s to present.
Recommended films: Street Fighter: The Legend of Chun-Li (2009) and Partition (2007)

6. Chiaki Kuriyama

Birthdate: October 20, 1984 in Tsuchiura, Japan

Best features: Her big but beautiful nose and her smile.
At her most beautiful: Early 2000s to present.
Recommended films: Last Quarter (2004), Kill Bill: Vol. 1 (2003), and Battle Royale (2000).

7. Gong Li

Birthdate: December 31, 1965 in Shenyang, China

Best features: Her porcelain white skin and her cute smile.
At her most beautiful: Late '80s to present.
Recommended films: Raise the Red Lantern (1991), Miami Vice (2006), and 2046 (2004)

8. Christine Pascal

Birthdate: November 29, 1953 in Lyone, Rhône, France
Date of death:
August 30, 1996 in Garches, Hauts-de-Seine, France (suicide)

Best features: Her sad but endearing eyes and her nose.
At her most beautiful: Mid '70s to mid '90s.
Recommended film: 'Round Midnight (1986)

9. Tuesday Weld

Born: Susan Ker Weld
Birthdate: August 27, 1943 in New York City, New York, USA

Best features: Her delightful smile, her mouth, her cheekbones, and her baby face.
At her most beautiful: Early '60s to late '70s.
Recommended films: The Cincinatti Kid (1965), Pretty Poison (1968), and I Walk the Line (1970)

10. Natalie Wood

Born: Natalia Nikolaevna Zakharenko
Birthday: July 20, 1938 in San Francisco, California, USA
Date of death:
November 29, 1981 in Santa Catalina Island, California, USA (drowning)

Best features: Her exquisitely dark brown eyes and her jolly smile.
At her most beautiful: Early '60s to late '60s.
Recommended films: Splendor in the Grass (1961), West Side Story (1961), and Bob & Carol & Ted & Alice (1969)

♥ L'amour est enfant de Bohème ♥

My 2nd Attempt in Analyzing POSSESSION (1981)

2010-09-23T00:35:00.015+08:00

Author's note: After reading Soiled Sinema's brilliant analysis of Possession, I decided to examine Zulawki's film for the second time. (Here's my first attempt.)

Directing a film based on your personal experiences is one thing. To convey your deepest thoughts and emotions in an audacious manner is another thing. Leaving your audiences feeling mentally raped is to be Andrzej Zulawski.

In 1981, Andrzej Zulawski directed Possession, a voyage into one’s darkest emotions. The film stars Isabelle Adjani as Anna, a dysphoric housewife married to Mark (played by Sam Neill), a white-collar worker. They have a son, Bob, a boy whose favorite pastime is scuba diving in the bathtub. After returning home to his beloved wife and son in Berlin, Mark’s dream of a picture-perfect family is shattered when Anna decides to end their marriage. Through Margit, Anna’s only friend, Mark finds out about his wife’s paramour, a preachy, dope-happy middle-aged man by the name of Heinrich. Turns out, Anna hasn’t been in touch with Heinrich since Mark’s arrival. Who/what could be Anna’s reason for leaving behind her family and lover?

Divorce from sanity and faith is the core of Possession. Andrzej Zulawski was successful in dealing with that subject. In fact, he himself was in the midst of his own divorce when he wrote the film. It’s a great break-up movie. Mark is a character who’s willing to accept his wife’s perverted ways even though she neglects him over and over again. His heart still breaks whenever he sees his wife crying and hyperventilating in their bathroom, but she just can’t help but leave him anyway. Isn’t that a perfect portrait of heartbreak and frustration? Through Mark’s plight, Zulawski asks the audiences how far this irked man would go to win his wife back.

Slowly losing his morality and his faith in God, Mark feeds his letdown by sleeping with Bob’s teacher, Helen (also played by Adjani). Helen is the exact opposite of Anna. She usually wears white dresses, while Anna is generally clad in dark blue garb. The color of these characters’ clothes is an allegory of their personality. Zulawski made sure that every single detail in this film has something to do with the characters and their predicaments. Helen is Mark’s ideal wife. She does the household chores, tells bedtime stories to Bob, and is there when he needs her.

But let’s not forget Anna. She obviously has some issues, but she’s just too ashamed to talk about it with her husband. What’s more tragic about Anna is the fact that she can’t help but visit her son even for a brief moment. If Mark is tormented by frustration, Anna is anguished by ignominy and guilt. Anna’s self-disgust would later develop into insanity, which is highlighted in her remarkable meltdown at an empty subway tunnel.

At the heart of Anna and Mark’s hysterical encounters is Bob, who knew from the start that his parents are not going to end up like Cinderella and Prince Charming. Bob is an important character because he represents the audience. We see and feel most of the film’s context through his eyes. If not for Bob’s existence, I don’t know if I’m going to see Possession the way that I see it.

Possession is not about who is good and who is bad. It’s about how these people become the prey of their own monster. How they become “possessed” by their own evil. How they struggle to deal with overwhelming events that occur in their God-given lives. The film aims to show its audiences that ignorance is, indeed, bliss. How it’s better to not know anything at all. Mark spends the first half of the film obsessing in finding out who the object of his jealousy is. He eventually gets to see his wife’s “lover” later on, a slimy competition that would add more bruise to his wounded being.

Possession is set in Berlin during the tumultuous Cold War. The film’s setting is a perfect backdrop for Zulawski’s mindfuck illustration of love gone nuts. The frigid Berlin wall becomes one of the vital characters in the film. It acts like a trap that the main characters fall into.

While watching Possession, one can’t help but compare it to Roman Polanski’s Repulsion, a 1965 film featuring Catherine Deneuve as Carol, a young woman suffering a mental illness. Zulawski’s film is reminiscent of Polanski’s first English-language film. Anna and Carol are both caught in the web of their insanity. They involuntarily commit crimes during their mental breakdown. Some of the camera shots are quite similar too. But it would be unfair to Zulawski to say that Possession is a photocopy of Repulsion. It is not. Possession has its own magic. What’s that magic? You have to see it for yourself.

There are a lot of disturbing scenes in this film. Scenes that would definitely shock audiences the way it shocked moviegoers and film critics back in 1981. I showed Possession to some of my friends, they can’t help but feel violated after seeing the film. Possession was ahead of its time when it was first shown. I think it still is. It requires a strenuous effort for some of today’s audiences to watch a blasphemous piece of avant-garde art.

Zulawski did a great job in choosing Isabelle Adjani as Anna. The legendary actress is at the pinnacle of her beauty in this film. It’s painful for Sam Neill’s character (and for the audience as well) to see such a breathtaking visage destroying herself. Zulawski was able to manipulate Adjani’s beauty as an instrument of Mark’s agony. After watching this film, I came to realize that Anna is one of the most underrated femme fatales in the history of cinema. Zulawski successfully tackled the subject of existential angst by bringing out career-defining performances from both Adjani and Neill.

The film is in English, but the accent is thick. (Adjani is French and Neill is from New Zealand.) It’s much better to watch this film with subtitles because Zulawski speaks through his characters’ philosophical words.

Possession mainly caters to esoteric group of film enthusiasts who can stomach Zulawski’s gut-filled dish, and to brave men and women who are willing to be plundered of their own sanity. [Luckily for me, I still have my sanity intact after watching this film.]

Good luck! :)

Love - once lost, it can never be found.

2010-09-19T09:05:00.128+08:00

If you had a chance encounter with your long lost love, would you try to rekindle your broken romance with that person? Would you be willing to abandon your bright future in order to go back to your gloomy past? Max (Vincent Cassel) says yes to all those questions.

L'appartement is a brilliant film about the ugliness of obsessive love. Max is haunted by the voice across the wall because it sounds a lot like Lisa (Monica Bellucci), his long lost love. He wasn't able to see her face or talk to her, but he was able to obtain the key to her hotel room. Max lies to his fiancee, Muriel (Sandrine Kiberlain) and cancels his business trip to Tokyo in order to find Lisa. Max goes to Lisa's hotel room, but Lisa's not there. He stays in the room, dwells on the past, and sleeps in her bed. Obsession at its finest. By stalking Lisa's current boyfriend, Max eventually finds out about Lisa's apartment. He goes there only to find a woman (Romane Bohringer) who claims to be Lisa. The charade begins.

The first scene of the film shows how indecisive Max is. He can't choose which ring is the most beautiful, he also can't choose which woman he loves the most. The three rings symbolize the three women in Max's life (Muriel, Lisa, and Alice). Max is a king of limerence. He lied to Muriel because he thinks he has found Lisa. He is very persistent in finding Lisa yet he made love to Alice because she reminds him of Lisa. Max's indecisiveness makes his love to the three women insincere. (That's why Alice called him a hypocrite.)

Alice is a lonely soul. She's so lonely that she peeks at her neighbor, Lisa, in flagrante with a boyfriend. Lisa saw Alice looking at her. Instead of getting pissed, Lisa befriended the lonely Alice and they became very close friends. Lisa is the exact opposite of Alice. Lisa loves to be around people (she's a theater actress), while Alice loves to be around books. Lisa is sociable, Alice is a loner. Lisa loves to talk about romance, but Alice avoids conversations about love. Loveless, Alice immediately falls in love with Max when she first saw him walking down the street. Max still has a funny hairdo and is working at a video repair shop that time. A broken videocam containing shots of Lisa's face gave Alice a possible chance to be close to Max. Unfortunately for Alice, Max fell in love with Lisa when he saw her face on the TV screen, this is when obsession comes in. Max becomes obsessed with Lisa, and Alice with Max.

The names of Romane Bohringer and Monica Bellucci's characters are no coincidence. In my opinion, director Gilles Mimouni intentionally chose the names "Alice" and "Lisa." When pronounced in reverse, "Alice" becomes "Lisa," so is Bohringer's character. Alice transforms herself into Lisa. Alice assuming Lisa's identity is a product of her obsessive love for Max. Alice will be everyone just to be with Max. She even dated/used Max's friend, Lucien (Jean-Philippe Écoffey), in order to get to Max.

Mimouni's film shows us that love is something that we should take very good care of, because once you lose it, you'll never find it again. Max and Lisa loved each other. They might have not taken good care of their love, that's why they never saw each other again. The film also shows us that love should be balanced. Otherwise it will develop into a malevolent force called obsession. A Midsummer Night's Dream is the name of the play featured in L'appartement. Mimouni used Shakespeare's play as an allegory of the situation of the main characters.

"Water is like time. It whirls by all the time."

L'appartement uses a nonlinear timeline, so we get to know more about the characters and their stories through flashbacks. Not since Chungking Express and Pulp Fiction have I loved films using the usually discombobulating nonlinear timeline. L'appartement was very effective in using such timeline. The film becomes more and more entertaining as it moves on.

Real-life couple Vincent Cassel and Monica Bellucci star as Max and Lisa. Cassel has always been one of my favorite actors. He's like a chameleon. I can't believe he's the same man who played the role of Mesrine in the eponymous film. Cassel may not be traditionally handsome, but his dashing charm makes him a joy to watch. He fits the role of a Casanova very well. Bellucci is ravishing, as always. Her beauty makes the film more enticing. She's remarkable as Lisa, but she's even more remarkable as Malena. Cassel and Bellucci shine in their respective roles, but Romane Bohringer stole the show from them. Bohringer is tremendous as Alice. Because of Bohringer's efficacious rendition, I can't help but feel for Alice (especially during the ending). Peter Chase's magnificent musical score compliments Thierry Arbogast's captivating cinematography very well. Splendid.

L'appartement is the first and only film of Mimouni, so far. I think one of the reasons why Mimouni did not make any films after L'appartement is because the film is so great. It's almost perfect. L'appartement is one of the greatest French films I've ever seen. It is, perhaps, one of the greatest films I've ever seen. Mimouni might have thought that he can't make another film as brilliant as L'appartement OR he's still in the process of writing a script that will surpass the illustriousness of his only film. Whatever his reason is, only he knows it. Mimouni is as enigmatic as L'appartement.

L'appartement is one of the reasons why I love French films. It's as mysterious as Leonardo da Vinci's Mona Lisa. Mimouni's film is both heartbreaking and fascinating. Many critics described L'appartement as Hitchcockian. L'appartement is indeed Hitchockian, but it still has its own magic. This film is one of the best examples of outstanding storytelling.

My rating: 9/10

Trailer for L'appartement:

♥ L'amour est enfant de Bohème ♥

Entertaining Film - MAYBE. Quality Film - NO.

2010-09-09T19:01:00.017+08:00

Tagline: Looks can be deceiving.

So Close is a film about two assassin sisters who are hunted by their employer and a determined policewoman.

I wish I can have the chutzpah to kick the ass of everyone involved in So Close. Aside from the preposterous action stunts and the hot actresses, So Close has nothing more to offer. In my humble opinion, So Close is a mediocre film. It's so overrated it makes its audiences stupid. Stupid to like a film that is full of impossible stunts but is actually lacking in substance. Beautiful kung-fu fighting women are not enough to make a great film. Thanks to CGI, So Close was able to offer quite entertaining action sequences, which are absolutely unbelievable. I get annoyingly drowned in CGI whenever I watch films like this. What if So Close didn't have those three hot actresses as the lead characters, would audiences still love this ludicrous piece of filmmaking?

Unlike Luc Besson's Nikita (1990), So Close doesn't have panache, it lacks style and originality. I don't want to watch what I've already seen in Nikita and Charlie's Angels (the TV show). If you want to see sexy women kicking some ass and a plot that has no credibility, So Close is for you. But if you want films with exceptional plot, endearing characters, and outstanding action sequences, check out films by Luc Besson or John Woo, or those films starring Bruce Lee (Enter the Dragon - oh yeah!).

Zhao Wei's character, Sue, is as annoying as the action stunts. All she did during the first half of the film was to act like a spoiled brat who wants to get her break in their assassination career. She wants to be like her older sister, Lynn. Or should I say, she's jealous of her sister's "success" in the assassination business. Sue, honey, if you're going to dream, dream of a more decent job, okay? Why the hell should I care about Sue's inferiority complex?! For God's sake! During the second half of the film, we discover that Sue has more to her than inferiority complex. She's actually as good as Lynn. Then why the hell conceal her incredible martial arts skill until the second half of the film?! It just goes to show that this film's writer does not know how to dissect his characters.

The film's excessive use of CGI overshadows its cinematography. So Close is like an over-Photoshopped picture. It loses its natural beauty because of excessive retouching. The musical score might be the salvation of So Close. It has that adrenaline-pumping feel to it. Very nice.

As for the acting, it's not that bad but it's not Oscar-worthy either. So Close has three of Hong Kong's top stars in it: Shu Qi, Zhao Wei, and Karen Mok. Shu Qi as Lynn is incomplete, it seems like she didn't want to give it all. And she makes it look like she's forced to be in this film. Shu Qi is undeniably alluring but her performance could have been better. Besides, she's in a film to show her acting abilities, not her hotness. And come on, a woman as skinny as Shu Qi can kick some ass?! Are you kidding me? In real life, she'd be busted by those loons who tried to snatch her purse. Zhao Wei is quite good as Sue, but she usually makes her performance look like an anime antic (with all those whining and anime-like facial expressions). Karen Mok's performance is what I liked the most. She's not overcooked or half-cooked as Kong Yat-Hung. Performance-wise, Karen Mok is in the middle of Shu Qi (half-cooked) and Zhao Wei (overcooked).

So Close has its own market (audiences). Unfortunately, I'm not one of those audiences who bought this film's power. On the other hand, I am proud to say that I was once stupid to like So Close. The film was a huge hit when it came out in 2002. So Close might be a stupid and overrated movie, but it still didn't fail to entertain its target audiences. I guess I can call this film a cult favorite. So Close is ridiculous for the wrong reason, but it still has an audience impact.

My rating: 3/10

Trailer for So Close:

♥ L'amour est enfant de Bohème ♥

Levi's Magic

2010-09-05T00:30:00.011+08:00

Levi's does not only produce the best denim jeans, Levi's also creates the most cinematic TV commercials (TVCs) out there.

Levi's TVCs often popularize songs (e.g., Bombastic and Spaceman). Some actors also starred in Levi's TVCs (e.g., Brad Pitt, Gael Garcia Bernal, Takuya Kimura, Vinessa Shaw, Jeremy Sisto, etc.). If they make TVCs like those of Levi's, TVCs would be my reason of watching TV. Here are some of my favorite Levi's TVCs.

1. "Creek", 1994

This is my most favorite Levi's TVC. It's so sexy! This TVC is kinda reminiscent of that peeking scene from Mademoiselle (1966). I love the cinematography and the music. The ending is funny. This TVC uses an excerpt from Stiltskin's Inside and features a young Vinessa Shaw as the older sister.

Directed by: Vaughn Arnell and Anthea Benton
Set design: Robin Brown
Makeup: Regina Harris
Hair: Kelvin Trahan

2. "Mr. Bombastic", 1995

I first saw this TVC when I was a kid. This one uses clay animation and features Shaggy's signature song, Bombastic. Remarkable.

3. "Planet", 1995

Do you still remember this TVC? Girl comes home wearing Levi's 501 jeans, Babylon Zoo's Spaceman is the background music. Who could forget this one?

4. "A Midsummer Night's Dream", 2005

The actors in this TVC recite excerpts from Shakespeare's A Midsummer Night's Dream. It also features Jessica Alba's brother, Joshua, as the lead actor. This TVC made me appreciate Shakespeare's works even more. It's hypnotizing.

5. "Drugstore", 1995

This TVC is directed by Michel Gondry. Music is Novelty Waves by Biosphere. Whenever I see this TVC, I feel like I'm watching one of those 1950s French films. Stylish.

6. "Refrigerator", 1988

The TVC's title is Refrigerator, but it's sizzlin' hot! The song is Mannish Boy by Muddy Waters.

7. "Crazy Legs", 2002

I'm sure y'all remember this TVC. It's directed by Spike Jonze. The song is Si Señor by Control Machete. Two words: Freaky cool.

8. "Kung Fu", 1997

This is one of those kick-ass TVCs I've ever seen. It has the elements of action, comedy, and romance. I can't help but think of the late but great Bruce Lee everytime I see this TVC. Music is Stepping Stones (Remix) by Johnny Harris.

9. "Fall", 1994

This TVC is set in 1944. A guy is taken to a hospital after suffering a fall. The rest is Levi's history.

10. Untitled, 2007

I don't know the title of this TVC, but it sure is sexy. The song is called Strange Love. The guy kinda looks like Skeet Ulrich.

♥ L'amour est enfant de Bohème ♥

A Beautifully Sculptured Film

2010-08-23T19:30:00.011+08:00

Camille Claudel is about the life of French sculptor Camille Claudel (Isabelle Adjani); her art, her obsessive love for fellow sculptor Auguste Rodin (Gerard Depardieu), and her tragic ending.

That's it! Adjani TOTALLY mesmerized me this time. She is amazing as Camille Claudel. Adjani is trés fort. She's got so much power in her, and you can see that power in her performance. After watching Camille Claudel, I said to myself, "I'm a big Adjani fan, how come I haven't seen this film before?!" Yes, Camille Claudel is now my most favorite performance by the enormously talented Adjani. (Goodbye Possession!)

In one scene, Camille Claudel is arguing with this guy named Morhardt. When Morhardt asked her, "Who do you think you are?", Camille replied in a disdainful tone, "Camille Claudel. I am Camille Claudel! And if you don't know it, I'll show you!" Adjani is not just saying those lines, she's living it. Adjani's Oscar® nomination for this film is well deserved. Aspiring actors shouldn't miss Camille Claudel, they can learn a lot from Adjani's brilliant performance.

Isabelle Adjani as Camille Claudel

Camille Claudel is Bruno Nuytten's finest work as a director. With this film, Nuytten surpassed some of the works of the directors he used to work for as a cinematographer. (Yes, even André Téchiné.) It's just quite a shame because after the triumphant Camille Claudel, Nuytten made only two films. Monsieur Nuytten should really make more films because audiences need more filmmakers like him. He directs in a delicate manner and he has an eye for things that are usually concealed. One word: Outstanding.

In my humble opinion, Camille Claudel is the pinnacle of Adjani and Nuytten's respective careers.

Legendary actor Depardieu is Auguste Rodin, Camille's mentor and lover. Depardieu is remarkable as Rodin. The screen loves him, but Camille Claudel is undeniably Adjani's show.

Gérard Depardieu and Adjani.

This is one of my favorite shots in the film. The composition is excellent.

The supporting actors also deliver performances of high caliber. Laurent Grévill plays the role of Camille's younger brother, Paul Claudel. Paul's transformation from a doting brother to a frigid man who condemns his own sister is excellent. Alain Cuny is perfect as Camille's dad. Two of my favorite scenes are Camille descending the stairs of her parents' house, her mother (played by the marvelous Madeleine Robinson) looks at her as if she's a stranger, then cut to the scene where Camille walks up to an elevated place. All throughout those scenes, Cuny's voice can be heard in the background (reciting Paul's poem). Those scenes are haunting, just like Cuny's voice.

Pierre Lhomme's exquisite photography adds more melancholy to the film. Gabriel Yared's music is moody and usually somber. He was able to translate Camille Claudel's emotions into music. Yared's musical score is splendid.

Adjani's feet.

There's also quite a lot of close-ups of Adjani's face. Nuytten also loved filming Adjani's feet (one of the sexiest feet I've seen onscreen). If Buñuel had a shoe fetish and Truffaut enjoyed filming women's legs, Nuytten loves to film feet.

The lines in this film are like love letters. It's romantic and gloomy. The innermost thoughts and feelings of Camille Claudel can be heard in her words.

"I gave him my toughness. He gave me his emptiness in return."
- Camille Claudel

One of the beautiful sculptures featured in the film.

"The human body is a world that moves. It's life!" - Rodin

The sculptures featured in Camille Claudel are as magnificent as the film itself. I feel like I'm in a museum whenever I see this film. The lighting is perfect. The shadow compliments both the sculptures and the body of the models very well. Breathtaking. Camille Claudel is an extraordinary film and an underrated gem.

My rating: 9/10

Trailer for Camille Claudel:

♥ L'amour est enfant de Bohème ♥