Thursday, April 03, 2003
8 ½
Directed by Federico Fellini
8 ½ is a well-known masterpiece that all film lovers MUST watch. Countless reviews and analyses have been written about it and I wonder if I can offer any new point of view.
After watching 8 ½ and reading what others have said, I realised why it is such a popular movie with critics. And even if it means adding flattery, I have to confess this is one of the most interesting movies I have watched.
Right from the start, everything is silent. I thought something was wrong with my TV (I was watching it from the Criterion DVD Collection) initially as the first scene was a traffic jam and I was expecting some sound. Then, as the film progresses within the traffic congestion, we see more weird stills. Like the bus full of people without heads; a couple staring out of the bus’s front windows into blank space. The scene which flows beautifully as camera pans from face to face in what seems like a park while orchestral music streams in the background is breathtaking. Such dreamlike sequences will be repeated contrasting a more depressing realism for our protagonist director.
Famous director, Guido (Marcello Mastroianni), suffers a director’s block but money has already been poured in for his next film project which he has no idea what it is going to be about.
A spaceship has been built and his entire crew including writer, producer, cameraman, actors and actresses are all waiting for him to tell them what to do. Meanwhile, he has to juggle between his wife and mistress when they visit the filming site at the same time.
While the movie has been seen as a portrayal of real life Fellini at that time (he confessed he was stuck when making 8 ½), it is not the autobiographical or confessional aspect that makes 8 ½ endearing.
It is the Carl Jeung dreamlike allusions and poetic style that makes 8 ½ a great film. 8 ½ propels cinema appreciation to a new level which one cannot imagine the art form is capable of.
The film balances between reality, absurdity and extremes. One moment, Guido is at a cafe with his wife who repirmands him for his infidelity, the next, he is daydreaming about women in his house, serving him like a king. It is apparent from this huge set of actress; how he casts them in different roles as housewives, whores, dreamers, actress e.t.c. that we know Fellini’s love of women. The story of Guido’s childhood brought up wrecked with Catholic guilt is offset by another world where the Catholic church is one’s saviour and path to salvation.
8 ½ reminds us what movies are about –that within those two hours, we are watching a constructed reality. It is a film about film making – that while making a movie is creating art, it is also down to business. It is a personal odyssey of a man overcoming all odds. It is a fantasy land, a circus, a theatrical show mixed with grim stark reality of living.
It achieves the grandeur of Citizen Kane by telling us a story about a man without relating his entire life. It captures that difficult phase of a man becoming a real man when faced with an arduous ordeal.
Directed by Federico Fellini
8 ½ is a well-known masterpiece that all film lovers MUST watch. Countless reviews and analyses have been written about it and I wonder if I can offer any new point of view.
After watching 8 ½ and reading what others have said, I realised why it is such a popular movie with critics. And even if it means adding flattery, I have to confess this is one of the most interesting movies I have watched.
Right from the start, everything is silent. I thought something was wrong with my TV (I was watching it from the Criterion DVD Collection) initially as the first scene was a traffic jam and I was expecting some sound. Then, as the film progresses within the traffic congestion, we see more weird stills. Like the bus full of people without heads; a couple staring out of the bus’s front windows into blank space. The scene which flows beautifully as camera pans from face to face in what seems like a park while orchestral music streams in the background is breathtaking. Such dreamlike sequences will be repeated contrasting a more depressing realism for our protagonist director.
Famous director, Guido (Marcello Mastroianni), suffers a director’s block but money has already been poured in for his next film project which he has no idea what it is going to be about.
A spaceship has been built and his entire crew including writer, producer, cameraman, actors and actresses are all waiting for him to tell them what to do. Meanwhile, he has to juggle between his wife and mistress when they visit the filming site at the same time.
While the movie has been seen as a portrayal of real life Fellini at that time (he confessed he was stuck when making 8 ½), it is not the autobiographical or confessional aspect that makes 8 ½ endearing.
It is the Carl Jeung dreamlike allusions and poetic style that makes 8 ½ a great film. 8 ½ propels cinema appreciation to a new level which one cannot imagine the art form is capable of.
The film balances between reality, absurdity and extremes. One moment, Guido is at a cafe with his wife who repirmands him for his infidelity, the next, he is daydreaming about women in his house, serving him like a king. It is apparent from this huge set of actress; how he casts them in different roles as housewives, whores, dreamers, actress e.t.c. that we know Fellini’s love of women. The story of Guido’s childhood brought up wrecked with Catholic guilt is offset by another world where the Catholic church is one’s saviour and path to salvation.
8 ½ reminds us what movies are about –that within those two hours, we are watching a constructed reality. It is a film about film making – that while making a movie is creating art, it is also down to business. It is a personal odyssey of a man overcoming all odds. It is a fantasy land, a circus, a theatrical show mixed with grim stark reality of living.
It achieves the grandeur of Citizen Kane by telling us a story about a man without relating his entire life. It captures that difficult phase of a man becoming a real man when faced with an arduous ordeal.
Movie Review
Cat On A Hot Tin Roof (1958)
Directed by Richard Brooks
Cat On A Hot Tin Roof, top box office when released, received as many as six Academy Award Nomination: Best Picture, Best Actor (Paul Newman for his first Oscar nomination), Best Actress (Elizabeth Taylor), Best Director (Richard Brooks), Best Adapted Screenplay (Richard Brooks and James Poe), and Best Cinematography (William H. Daniels) – though it did not win any of them.
Nevertheless, winning or not, Cat On A Hot Tin Roof which was based on Tennessee Williams‘ play, is a compelling drama featuring riveting performance by the then young and handsome blue eye blond Paul Newman as Brick; his sharp witted and sarcastic wife, Maggie (Elizabeth Taylor); and Brick’s father, 'Big Daddy' Pollitt (Burl Ives).
Let’s clarify first by saying what was not seen and hence mis-implied. I quote Jim Dirkes from 100 Greatest Films website, “all references to homosexuality and four-letter words were deleted, watered down, or obscured from the shocking, original play.” because of the strict censorship Production Codes in the late 1950s.
The film opened with Brick on the bottle, hearing cheers in an empty stadium at night. Then, he started running and jumping over hurdles along the running tracks before tripping over one of them and hurt his ankles. This starting scene is an indication of what we would know later; that Brick, an angry alcoholic, was with wife, Maggie to celebrate with the whole family, Big Daddy, his father’s 65th birthday.
Maggie is aware that Brick’s brother, Gooper Pollitt (Jack Carson) and his loud mouthed wife, Mae (Madeleine Sherwood) plans to overtake the entire family’s business (which includes 28 acres of land and few million dollars) when Big Daddy dies, hopes to prevent that from happening by getting on her in-laws good books.
Brick’s anger, it seems, is directed at everything and everyone around him, especially his wife though we are still kept in the dark why initially. Due to the censoring of homosexual references mentioned earlier, one might imply from their conversations quite differently from what is actually going on. (We are unsure if Brick’s dead friend, Skipper has or has not slept with his wife, Elizabeth and if they were lovers)
Even with the censoring, Cat On A Hot Tin Roof, is a powerful and gripping film that explores the dark, what is unsaid among people and their familial relationships. “Mendacity” as Brick and Big Daddy will hurl at one another while the whole seemingly happy household goes on their spinning the fable.
Paul’s well-deserved Academy nomination as Best Actor was a character embroiled in turmoil and anger. His nonchalant and sarcastic attitude hiding behind internalized rage was exasperating. It was only after Brick exploded before Maggie and his father that we see him as insecure and helpless.
Elizabeth as Maggie, on the other hand, is a much difficult role to empathize with as she initially appeared a money grubber like her sister in law. Her dislike of her brother-in-law’s children - she calls her no neck monsters tricks audience into believing why the handsome couple was childless. It was only towards the ending when we realise that Maggie, like all others, are trapped by her own fears; and like them, tries to conceal the skeletons in the closet.
Burl Ives is equally commanding as the patriarch who will not buy any “bull” from anyone in the family and reprimanded Big Momma when he thought she was going too far with her birthday celebration. He is also the potent man who can make woman happy. Yet, when he was informed of the bad news, he locked himself away from the others.
Cat On a Hot Tin Roof exposes the conflicts and interests in families. It did not win an Academy but Tennessee William’s story brought on screen is still a harrowing affair to watch after so many years.
Cat On A Hot Tin Roof (1958)
Directed by Richard Brooks
Cat On A Hot Tin Roof, top box office when released, received as many as six Academy Award Nomination: Best Picture, Best Actor (Paul Newman for his first Oscar nomination), Best Actress (Elizabeth Taylor), Best Director (Richard Brooks), Best Adapted Screenplay (Richard Brooks and James Poe), and Best Cinematography (William H. Daniels) – though it did not win any of them.
Nevertheless, winning or not, Cat On A Hot Tin Roof which was based on Tennessee Williams‘ play, is a compelling drama featuring riveting performance by the then young and handsome blue eye blond Paul Newman as Brick; his sharp witted and sarcastic wife, Maggie (Elizabeth Taylor); and Brick’s father, 'Big Daddy' Pollitt (Burl Ives).
Let’s clarify first by saying what was not seen and hence mis-implied. I quote Jim Dirkes from 100 Greatest Films website, “all references to homosexuality and four-letter words were deleted, watered down, or obscured from the shocking, original play.” because of the strict censorship Production Codes in the late 1950s.
The film opened with Brick on the bottle, hearing cheers in an empty stadium at night. Then, he started running and jumping over hurdles along the running tracks before tripping over one of them and hurt his ankles. This starting scene is an indication of what we would know later; that Brick, an angry alcoholic, was with wife, Maggie to celebrate with the whole family, Big Daddy, his father’s 65th birthday.
Maggie is aware that Brick’s brother, Gooper Pollitt (Jack Carson) and his loud mouthed wife, Mae (Madeleine Sherwood) plans to overtake the entire family’s business (which includes 28 acres of land and few million dollars) when Big Daddy dies, hopes to prevent that from happening by getting on her in-laws good books.
Brick’s anger, it seems, is directed at everything and everyone around him, especially his wife though we are still kept in the dark why initially. Due to the censoring of homosexual references mentioned earlier, one might imply from their conversations quite differently from what is actually going on. (We are unsure if Brick’s dead friend, Skipper has or has not slept with his wife, Elizabeth and if they were lovers)
Even with the censoring, Cat On A Hot Tin Roof, is a powerful and gripping film that explores the dark, what is unsaid among people and their familial relationships. “Mendacity” as Brick and Big Daddy will hurl at one another while the whole seemingly happy household goes on their spinning the fable.
Paul’s well-deserved Academy nomination as Best Actor was a character embroiled in turmoil and anger. His nonchalant and sarcastic attitude hiding behind internalized rage was exasperating. It was only after Brick exploded before Maggie and his father that we see him as insecure and helpless.
Elizabeth as Maggie, on the other hand, is a much difficult role to empathize with as she initially appeared a money grubber like her sister in law. Her dislike of her brother-in-law’s children - she calls her no neck monsters tricks audience into believing why the handsome couple was childless. It was only towards the ending when we realise that Maggie, like all others, are trapped by her own fears; and like them, tries to conceal the skeletons in the closet.
Burl Ives is equally commanding as the patriarch who will not buy any “bull” from anyone in the family and reprimanded Big Momma when he thought she was going too far with her birthday celebration. He is also the potent man who can make woman happy. Yet, when he was informed of the bad news, he locked himself away from the others.
Cat On a Hot Tin Roof exposes the conflicts and interests in families. It did not win an Academy but Tennessee William’s story brought on screen is still a harrowing affair to watch after so many years.
Wednesday, April 02, 2003
these days, media stories are more real than anything in our life
these days, a cloud of suspicion, over anyone who coughs or sneezes
for fear of contracting SARS – Severe Acute Respiratory Syndrome,
the deadly virus that can kill.
Gulf War II seemed further now in Asia even though death continued
civilians are killed
Yesterday, veteran Canto Pop star, Leslie Cheung
committed suicide and he was the headline for today’s afternoon tabloid
things look bleak
like a dark cloud
recession has made us cynical
holding on to jobs
for fear of retrenchment
these days, media stories are more real than anything in our life
a fever is more dangerous than
few months ago, terrorism strikes fear
cause a terrorist can be your neighbour average Muslim Joe
these days, a cloud of suspicion, over anyone who coughs or sneezes
for fear of contracting SARS – Severe Acute Respiratory Syndrome,
the deadly virus that can kill.
Gulf War II seemed further now in Asia even though death continued
civilians are killed
Yesterday, veteran Canto Pop star, Leslie Cheung
committed suicide and he was the headline for today’s afternoon tabloid
things look bleak
like a dark cloud
recession has made us cynical
holding on to jobs
for fear of retrenchment
these days, media stories are more real than anything in our life
a fever is more dangerous than
few months ago, terrorism strikes fear
cause a terrorist can be your neighbour average Muslim Joe
Tuesday, April 01, 2003
I was taught at a young age to be filial and respect my father and mother, treasure my family followed by having a group of trustworthy friends. The family will be the most important thing in my life because they never abandon you, even in the worst of times.
Can I dispute that the natural family is most important in one’s life? More important than personal freedom, going against their wishes to do what one wants to do? Lead the life my family disapproves? Do the things they do not disagree with?
Parents do not understand why their children insist on doing certain things. It’s pretty universal. Especially with Asians, parents want their kids to become doctors and lawyers; if not, at least, able to earn a decent living, get a flat, be married, have kids so that they can become grandparents.
These are wants imposed by parents on their children, whom they see as part of themselves, as if they own them, which explains why they think their children never grows up and they have a right to see them become the person they want to be.
In the name of maintaining traditional values and goodwill; more importantly, stressing that what they do is only out of love, they forget that love is NOT about imposing your ideas. Love is about freedom; loving despite flaws and accepting the other person for who he or she is.
Love is not about trapping the person whom we love. Love is about being there for them. Love is about giving advice, not forcing your ideas or judgment.
In a nutshell, the so-called love by many parents to their kids, like all kinds of love, is tainted by a desire to see an extension of their will and control over another human being whom they feel strongly.
In Buddhism, becoming a monk involves severing mundane ties, not because monks are not supposed to love. In fact, the opposite is the truth. By forgoing our obsession with personal obsessions (love for material goods, lovers, family and friends), we will be able to open our heart and find for ourselves a love that has no boundaries; that doesn’t matter who the person was. We want to be able to spread our compassion and love towards every living thing because we realise; even with the human knowledge of existence, that suffering is common in all.
Love of the highest order does not care about colours, political inclination, gender or sickness. It encompasses all living things.
Let us be traditional. Let us spread love for all living things again.
Can I dispute that the natural family is most important in one’s life? More important than personal freedom, going against their wishes to do what one wants to do? Lead the life my family disapproves? Do the things they do not disagree with?
Parents do not understand why their children insist on doing certain things. It’s pretty universal. Especially with Asians, parents want their kids to become doctors and lawyers; if not, at least, able to earn a decent living, get a flat, be married, have kids so that they can become grandparents.
These are wants imposed by parents on their children, whom they see as part of themselves, as if they own them, which explains why they think their children never grows up and they have a right to see them become the person they want to be.
In the name of maintaining traditional values and goodwill; more importantly, stressing that what they do is only out of love, they forget that love is NOT about imposing your ideas. Love is about freedom; loving despite flaws and accepting the other person for who he or she is.
Love is not about trapping the person whom we love. Love is about being there for them. Love is about giving advice, not forcing your ideas or judgment.
In a nutshell, the so-called love by many parents to their kids, like all kinds of love, is tainted by a desire to see an extension of their will and control over another human being whom they feel strongly.
In Buddhism, becoming a monk involves severing mundane ties, not because monks are not supposed to love. In fact, the opposite is the truth. By forgoing our obsession with personal obsessions (love for material goods, lovers, family and friends), we will be able to open our heart and find for ourselves a love that has no boundaries; that doesn’t matter who the person was. We want to be able to spread our compassion and love towards every living thing because we realise; even with the human knowledge of existence, that suffering is common in all.
Love of the highest order does not care about colours, political inclination, gender or sickness. It encompasses all living things.
Let us be traditional. Let us spread love for all living things again.
