Monday, April 14, 2003
Monsoon Wedding
Directed by Mira Nair
In Salon.com review of Monsoon Wedding, Charles Taylor, the reviewer mentioned that, it is as “broad and conventional as a movie can be. It's a crowd-pleaser in the most familiar sense.”
This is in fact agreeable as Monsoon Wedding captures the vibrancy and colour of a Punjabi wedding caught in the intersection and interaction of tradition and modernity. Aditi is marrying Hemant, a good looking engineer from Houston based on parent’s arrangement. However, her attachment to former married boss, Vikram, leaves her in a perturbing dilemma. Meanwhile, relatives has come to brides’ father’s Lalit Verma and wife Pimmi’s house despite the monsoon season for the marriage ceremony.
Other romances also bloom with Ayesha, cousin of the bride, with entourage, a sexy Delhi when she catches the eye of Rahul (vice versa), a University of Sydney student, with the bride family. On the other hand, P.K. Dubey, agent manager cum contractor for their elaborate wedding celebrations, is taken over by Alice, the family maid, with her simplicity and housewifeliness.
Monsoon Wedding pushes us right into the thick of things and leaves us to work out for ourselves what is going on, which is not that difficult to piece together after a while . In a way, it is interesting to note the dynamics of the large family and going ons for the preparation of a traditional wedding. The film’s soundtrack of ghazals (traditional love songs), modern Indian pop, jazz and bhangra (Punjabi folk/pop) music also adds to the festive mood of the Monsoon Wedding.
Yet, one cannot help feel a superficial gloss in the themes it tries to tackle. We somehow fail to either see the characters in a deeper light or either how modernity conflicts with traditions. The marriage between Aditi and Hemant for example, does not address the issue of whether youngsters can obey their parents; get to know someone and be married to a stranger within a few days. In fact, Aditi and Hemant take to each other almost immediately on first sight. Such a plot almost seems too convenient and spells too little work for the playwright.
Aditi’s brother refusal to go to boarding school is another loose end left unresolved while Ria, bride’s cousin, dreams of pursuing a degree in creative writing, is undershadowed by the dark secret that she has hidden for years. Pimmi, the bride’s mother, is a secondary character, who seems to play second fiddle to the man in the house, despite the fact that she complains about being busy with the wedding preparations; She seems to have few connections with her children just like Verma’s problem with the wedding; seems to be monetary and nothing much else.
Despite all this, Monsoon Wedding is still worth watching but perhaps file under the category of pure entertainment.
Directed by Mira Nair
In Salon.com review of Monsoon Wedding, Charles Taylor, the reviewer mentioned that, it is as “broad and conventional as a movie can be. It's a crowd-pleaser in the most familiar sense.”
This is in fact agreeable as Monsoon Wedding captures the vibrancy and colour of a Punjabi wedding caught in the intersection and interaction of tradition and modernity. Aditi is marrying Hemant, a good looking engineer from Houston based on parent’s arrangement. However, her attachment to former married boss, Vikram, leaves her in a perturbing dilemma. Meanwhile, relatives has come to brides’ father’s Lalit Verma and wife Pimmi’s house despite the monsoon season for the marriage ceremony.
Other romances also bloom with Ayesha, cousin of the bride, with entourage, a sexy Delhi when she catches the eye of Rahul (vice versa), a University of Sydney student, with the bride family. On the other hand, P.K. Dubey, agent manager cum contractor for their elaborate wedding celebrations, is taken over by Alice, the family maid, with her simplicity and housewifeliness.
Monsoon Wedding pushes us right into the thick of things and leaves us to work out for ourselves what is going on, which is not that difficult to piece together after a while . In a way, it is interesting to note the dynamics of the large family and going ons for the preparation of a traditional wedding. The film’s soundtrack of ghazals (traditional love songs), modern Indian pop, jazz and bhangra (Punjabi folk/pop) music also adds to the festive mood of the Monsoon Wedding.
Yet, one cannot help feel a superficial gloss in the themes it tries to tackle. We somehow fail to either see the characters in a deeper light or either how modernity conflicts with traditions. The marriage between Aditi and Hemant for example, does not address the issue of whether youngsters can obey their parents; get to know someone and be married to a stranger within a few days. In fact, Aditi and Hemant take to each other almost immediately on first sight. Such a plot almost seems too convenient and spells too little work for the playwright.
Aditi’s brother refusal to go to boarding school is another loose end left unresolved while Ria, bride’s cousin, dreams of pursuing a degree in creative writing, is undershadowed by the dark secret that she has hidden for years. Pimmi, the bride’s mother, is a secondary character, who seems to play second fiddle to the man in the house, despite the fact that she complains about being busy with the wedding preparations; She seems to have few connections with her children just like Verma’s problem with the wedding; seems to be monetary and nothing much else.
Despite all this, Monsoon Wedding is still worth watching but perhaps file under the category of pure entertainment.
Sunday, April 13, 2003
All Quiet On The Western Front
Directed by Lewis Milestone
Based upon the pacifist, best-selling Erich Maria Remarque’s 1929 novel, “All Quiet On The Western Front” this epic can best be summed up by its prologue:
This story is neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped its shells, were destroyed by the war...
The film which was a critical and commerical success also won the Academy Award for Best Picture (the third winner in the history of AMPAS) and Best Director (Lewis Milestone which was his first sound feature)
The story revolves around young german schooling boys, who volunteered for the army, after their teacher delivered an inspiring speech, calling for them to fight for their “fatherland”. Their eagerness to fight and join the army was soon eclipsed by the harsh conditions in the frontline, where they had to endure lack of good food, sleep, constant bombarding and inevitably, injuries and death.
Though the film was screened in 1930, it is ageless for portraying the cruelties of war. The scene where one of the german soldier is caught with an enemy solder; hiding in one of the trenches while gunfire continues best exemplify the situation. The german soldier was basically pleading for forgiveness when he realised that he had killed his enemy.
The irrationality of war is also discussed when the german soldiers were resting after their lunch. Apparently, none was sure why they were here. It is perhaps best summed up that the war is simply the whims of those in authority as the soldier puts it, “Every full-grown Emperor needs one war to make him famous. Why, that's history.” before another soldier, Paul chips in, “Yeah, Generals too. They need war.” and another, “And manufacturers. They get rich.”
Les Bonnes Femmes
Directed by Claude Chabrol
One of Chabrol’s earliest film, Les Bonnes Femmes, is the story of 4 sales assistants in a shop, owned by a lecherous old man (Pierre Bertin).
The four women: Jane (Bernadette Lafont), Rita (Lucile Saint-Simon), Jacqueline (Clothilde Joano) and Ginette (Stephane Audran) each leads different lives. Ginette is marrying Claude Berri (Chabrol) but has to pretend to be interested in the arts to please her future in laws. Jane is ready to be with any man that can interest her while Jacqueline is fascinated by her motorist stalker, acted by Mario David. Rita is secretly singing in a club because she is afraid the girls will laugh at her.
Despite claims that it is a lost masterpiece (only available recently by the American audience), having a Hitchcockian suspenseful plot, Les Bonnes Femmes, does not have much cinematic allure as it says.
The “thriller” plot which Les Bonnes claims hardly strike as surprising. Instead, the focus is on the lives of these women who seems trapped in what is expected of them from their male counterparts, be it their boss, boyfriends, and the men who sees them as merely playthings. As much as it is women, it is also about men’s views of women. Jane’s encounter with the two rich men is a good example of what can happen when one gets too close to strangers and accept their kindness. which incidentally, is the built up to Jacqueline’s fate. Berri making sure that Ginette knows her Michelangelo at the diners when they meet his parents is another example of the male projecting their idea of what their women should be unto the women themselves.
The ironic (but predictable) twist of Jacqueline’s fate, which many can identify suggests that true love (which women desires) is perhaps, not what it seems; that fairytales do not exist.
Amarcord
Directed by Federico Fellini
While Amarcord may not be Fellini’s 8 ½, which is in my opinion, is Fellini’s best (at least his films I have watched); it embodies Fellini’s trademark style of humor, and warmth interlaced with realist and dreamer’s vision; a lovely piece that makes it a classic.
Based on Fellini’s upbringing in Rimini during the 1930’s; Amarcord is more like a collage of events that took place within a typical year for the town. The film started with the arrival of spring when floating puffballs appear and everyone gets ready to burn the witch. The young Fellini is Titta (Bruno Zanin) who hangs around with the boys; always up to mischief; and having sexual fantasies with the women in town. This is portrayed when Titti had to confess to the pastor, who likes to ask his boys if they had touched themselves when the came in for a confession. Titti has of course fantasized about the women, Gradisca (Magali Noël), the beauty of the town, in particular, where he gets closer and closer to her as they were watching a film.
The other memorable and hilarious anecdotes include Titti and his family taking their crazy Uncle Teo (Ciccio Ingrassia), a mental hospital patient, to a farm for a family gathering; only to have the latter, climb up a tree and refuse to get down unless he finds a woman. The joke on fascism is played in one of Titti’s chum’s daydream as he envisions a talking floral Mussolini conducting his wedding ceremony). Not forgetting the town liar and clown who climbs up the hotel to rendezvous with the Arabian beauties.
The ending is particularly reminiscent of 8 ½; a happy ending as Gradisca is happily married and leaving for America with his new husband; along to the jovial music played by a live band amidst the town congregation. This love for America is also seen when the town actually row out to see the big cruise liner that comes from America.
Many critics view Amarcord as light entertainment; which it probably is. It is a great introduction to the world of Fellini for those who might be put off by his big name.
Directed by Lewis Milestone
Based upon the pacifist, best-selling Erich Maria Remarque’s 1929 novel, “All Quiet On The Western Front” this epic can best be summed up by its prologue:
This story is neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped its shells, were destroyed by the war...
The film which was a critical and commerical success also won the Academy Award for Best Picture (the third winner in the history of AMPAS) and Best Director (Lewis Milestone which was his first sound feature)
The story revolves around young german schooling boys, who volunteered for the army, after their teacher delivered an inspiring speech, calling for them to fight for their “fatherland”. Their eagerness to fight and join the army was soon eclipsed by the harsh conditions in the frontline, where they had to endure lack of good food, sleep, constant bombarding and inevitably, injuries and death.
Though the film was screened in 1930, it is ageless for portraying the cruelties of war. The scene where one of the german soldier is caught with an enemy solder; hiding in one of the trenches while gunfire continues best exemplify the situation. The german soldier was basically pleading for forgiveness when he realised that he had killed his enemy.
The irrationality of war is also discussed when the german soldiers were resting after their lunch. Apparently, none was sure why they were here. It is perhaps best summed up that the war is simply the whims of those in authority as the soldier puts it, “Every full-grown Emperor needs one war to make him famous. Why, that's history.” before another soldier, Paul chips in, “Yeah, Generals too. They need war.” and another, “And manufacturers. They get rich.”
Les Bonnes Femmes
Directed by Claude Chabrol
One of Chabrol’s earliest film, Les Bonnes Femmes, is the story of 4 sales assistants in a shop, owned by a lecherous old man (Pierre Bertin).
The four women: Jane (Bernadette Lafont), Rita (Lucile Saint-Simon), Jacqueline (Clothilde Joano) and Ginette (Stephane Audran) each leads different lives. Ginette is marrying Claude Berri (Chabrol) but has to pretend to be interested in the arts to please her future in laws. Jane is ready to be with any man that can interest her while Jacqueline is fascinated by her motorist stalker, acted by Mario David. Rita is secretly singing in a club because she is afraid the girls will laugh at her.
Despite claims that it is a lost masterpiece (only available recently by the American audience), having a Hitchcockian suspenseful plot, Les Bonnes Femmes, does not have much cinematic allure as it says.
The “thriller” plot which Les Bonnes claims hardly strike as surprising. Instead, the focus is on the lives of these women who seems trapped in what is expected of them from their male counterparts, be it their boss, boyfriends, and the men who sees them as merely playthings. As much as it is women, it is also about men’s views of women. Jane’s encounter with the two rich men is a good example of what can happen when one gets too close to strangers and accept their kindness. which incidentally, is the built up to Jacqueline’s fate. Berri making sure that Ginette knows her Michelangelo at the diners when they meet his parents is another example of the male projecting their idea of what their women should be unto the women themselves.
The ironic (but predictable) twist of Jacqueline’s fate, which many can identify suggests that true love (which women desires) is perhaps, not what it seems; that fairytales do not exist.
Amarcord
Directed by Federico Fellini
While Amarcord may not be Fellini’s 8 ½, which is in my opinion, is Fellini’s best (at least his films I have watched); it embodies Fellini’s trademark style of humor, and warmth interlaced with realist and dreamer’s vision; a lovely piece that makes it a classic.
Based on Fellini’s upbringing in Rimini during the 1930’s; Amarcord is more like a collage of events that took place within a typical year for the town. The film started with the arrival of spring when floating puffballs appear and everyone gets ready to burn the witch. The young Fellini is Titta (Bruno Zanin) who hangs around with the boys; always up to mischief; and having sexual fantasies with the women in town. This is portrayed when Titti had to confess to the pastor, who likes to ask his boys if they had touched themselves when the came in for a confession. Titti has of course fantasized about the women, Gradisca (Magali Noël), the beauty of the town, in particular, where he gets closer and closer to her as they were watching a film.
The other memorable and hilarious anecdotes include Titti and his family taking their crazy Uncle Teo (Ciccio Ingrassia), a mental hospital patient, to a farm for a family gathering; only to have the latter, climb up a tree and refuse to get down unless he finds a woman. The joke on fascism is played in one of Titti’s chum’s daydream as he envisions a talking floral Mussolini conducting his wedding ceremony). Not forgetting the town liar and clown who climbs up the hotel to rendezvous with the Arabian beauties.
The ending is particularly reminiscent of 8 ½; a happy ending as Gradisca is happily married and leaving for America with his new husband; along to the jovial music played by a live band amidst the town congregation. This love for America is also seen when the town actually row out to see the big cruise liner that comes from America.
Many critics view Amarcord as light entertainment; which it probably is. It is a great introduction to the world of Fellini for those who might be put off by his big name.
