Thursday, August 14, 2003
Love on the Run (L’Amour en Fuite)
Directed by François Truffaut
I mentioned in my previous review why Stolen Kisses doesn’t do much for me. Love On The Run which is the last to the Antoine Doinel series is more captive - a summation and retrospective with clips from the previous in the series: The 400 Blows; Antoine and Colette; Stolen Kisses; and Bed and Board.
Antoine Doinel (Jean-Pierre Léaud) is a new divorcee and seeing a younger, prettier woman, Sabine (Dorothée). Colette (Marie-France Pisier), his first love in Antoine and Colette, sees them outside the courthouse being hounded by the press for being the first couple (his wife, Christine (Claude Jade) whom he met and wed in Stolen Kisses & Bed and Board) in France to get a divorce under the new laws is suddenly reminded of Antoine’s presence. She buys a novel he had published in her current lover’s bookshop and whom she will have a tiff with for not showing enough concern; to read on the train journey for her latest case. She is now a lawyer.
Love on the Run is engaging even for the spectator who has not seen any in the Antoine Doinel series because clips are used such that they complement and tell the story. As an example, when Colette was reading the Antoine’s novel in her cabin and the movie plays flashbacks from Antoine and Colette, they merely replay the relationship without usurping the story line. It acts as a introduction and prepares us for the meeting between the old lovers.
The movie also moves forward (for those who have seen the 4 previous episodes) with the central dilemma of our characters searching for true love - basically that of Antoine as he comes to term with Sabine and his estranged deceased mother; Colette who is weary of her always missing lover.
Love on the Run is a delightful comedy in the sense that it makes you laugh and heart warmed over Antoine, who always feels like a grown up shadow of that same boy we know in The 400 Blows.
Madadayo
Directed by Akira Kurosawa
Madadayo is Kurosawa’s final film and it is apt that it revolves around old age. But not concerned with death or the lack of company but how life can still be meaningful and youthful. Probably Kurosawa’s most endearing film with its Zen anecdotes and heartfelt humor.
Professor Uchida (Tatsuo Matsumura) is able to retire during the second world war at the age of 60 because he finds that he can now live comfortably writing and selling his books. He moves to a new house and hopes to live a quiet life only to be interrupted by visits from his students who have now grown up and greatly respects him. They decide to hold an annual birthday party celebration for him in which Uchida will have a large glass of bear and reply with “Madadayo” which is “not yet” in Japanese to his student when they ask him, "Mahda-Kai?" (Are you ready yet"). Hence, the story of a man who is not ready to leave despite his age.
What Madadayo lacks – a tense pacing script with action which we associate with Kurosawa such as The Seventh Samurai or Throne of Blood; it makes up with a slow and repetitive choruses of praise for a man who has achieved in his field.
Madadayo can be viewed in the autobiographical light comparing Kurosawa to Uchida. Kurosawa is a world renowned director who has himself influenced Hollywood directors such as George Lucas and Steven Spielberg.
On the other hand, Madadayo can be interpret on many other levels.
Even though it seems to lack a central conflict and seems to meander without an end, Madadayo can be divided into three sections – namely the burning of the house which is within the period during and after the second world war. Kurosawa uses the analogy of appreciating the moon while cooped up in a small burnt down shack to contrast the idealistic imperialism during the era of Japanese militarism symbolised by the burning sun (The Japanese flag). His house faces the street and war debris, products of destruction. Uchida is a simple man, who never seems to grow up and hence his fear of the dark and lighting, hardly the archetype we come to associate with Japanese greats.
Some critics argue that the disappearance of Nora the cat is the central dischord of Madadayo, which is the lengthiest part of the movie. While it seems ridiculous to worry over a cat (even in a movie), Kurosawa paints an allegory of lost values amidst burgeoning capitalism. The cat went missing just before the appearance of the businessman who wanted to built a house three storeys high and which would effectively block sunlight from Uchida’s house. The owner refused and was repaid by the students who decided to bought the piece of land for the man’s kindness.
The cat also represents the possible children that the couple could have had and loved though it magnifies Uchida’s loneliness and yearning for companionship. Hence, the disappearance of the cat as much as it is about Uchida’s state of mind, is also the conflict which was already planted in the earlier scenes when he believes he can lead a solitary life; and upon finding himself worrying sick over a cat, realises his folly. Animals, like humans with their free minds, cannot be bought over by providing food and captured for domestic pleasure.
The appearance of the black cat, Kururu refills the hole but Uchida learns an important lesson, that he needs to love the people around him whom he calls the “Harvests of God”, rather than worrying about a cat, whom he has no control over.
The last part of the movie, after resolving the conflict, once again returns to Uchida who has now lead a full ripe life over 70; and still attending the birthday parties organised by his students. Now, Uchida gets to see during his party, his student’s children. Kurosawa never let his protagonist die but shows us his dream – that of a child playing hide and seek – an innocent child within a vast spacious backdrop recalling autumn (symbolising old age).
Madadayo arrives at a full circle not by ending Uchida’s life but by showing what life always has to offer. Kurosawa’s last film is painterly warm and full of assuring colours.
Directed by François Truffaut
I mentioned in my previous review why Stolen Kisses doesn’t do much for me. Love On The Run which is the last to the Antoine Doinel series is more captive - a summation and retrospective with clips from the previous in the series: The 400 Blows; Antoine and Colette; Stolen Kisses; and Bed and Board.
Antoine Doinel (Jean-Pierre Léaud) is a new divorcee and seeing a younger, prettier woman, Sabine (Dorothée). Colette (Marie-France Pisier), his first love in Antoine and Colette, sees them outside the courthouse being hounded by the press for being the first couple (his wife, Christine (Claude Jade) whom he met and wed in Stolen Kisses & Bed and Board) in France to get a divorce under the new laws is suddenly reminded of Antoine’s presence. She buys a novel he had published in her current lover’s bookshop and whom she will have a tiff with for not showing enough concern; to read on the train journey for her latest case. She is now a lawyer.
Love on the Run is engaging even for the spectator who has not seen any in the Antoine Doinel series because clips are used such that they complement and tell the story. As an example, when Colette was reading the Antoine’s novel in her cabin and the movie plays flashbacks from Antoine and Colette, they merely replay the relationship without usurping the story line. It acts as a introduction and prepares us for the meeting between the old lovers.
The movie also moves forward (for those who have seen the 4 previous episodes) with the central dilemma of our characters searching for true love - basically that of Antoine as he comes to term with Sabine and his estranged deceased mother; Colette who is weary of her always missing lover.
Love on the Run is a delightful comedy in the sense that it makes you laugh and heart warmed over Antoine, who always feels like a grown up shadow of that same boy we know in The 400 Blows.
Madadayo
Directed by Akira Kurosawa
Madadayo is Kurosawa’s final film and it is apt that it revolves around old age. But not concerned with death or the lack of company but how life can still be meaningful and youthful. Probably Kurosawa’s most endearing film with its Zen anecdotes and heartfelt humor.
Professor Uchida (Tatsuo Matsumura) is able to retire during the second world war at the age of 60 because he finds that he can now live comfortably writing and selling his books. He moves to a new house and hopes to live a quiet life only to be interrupted by visits from his students who have now grown up and greatly respects him. They decide to hold an annual birthday party celebration for him in which Uchida will have a large glass of bear and reply with “Madadayo” which is “not yet” in Japanese to his student when they ask him, "Mahda-Kai?" (Are you ready yet"). Hence, the story of a man who is not ready to leave despite his age.
What Madadayo lacks – a tense pacing script with action which we associate with Kurosawa such as The Seventh Samurai or Throne of Blood; it makes up with a slow and repetitive choruses of praise for a man who has achieved in his field.
Madadayo can be viewed in the autobiographical light comparing Kurosawa to Uchida. Kurosawa is a world renowned director who has himself influenced Hollywood directors such as George Lucas and Steven Spielberg.
On the other hand, Madadayo can be interpret on many other levels.
Even though it seems to lack a central conflict and seems to meander without an end, Madadayo can be divided into three sections – namely the burning of the house which is within the period during and after the second world war. Kurosawa uses the analogy of appreciating the moon while cooped up in a small burnt down shack to contrast the idealistic imperialism during the era of Japanese militarism symbolised by the burning sun (The Japanese flag). His house faces the street and war debris, products of destruction. Uchida is a simple man, who never seems to grow up and hence his fear of the dark and lighting, hardly the archetype we come to associate with Japanese greats.
Some critics argue that the disappearance of Nora the cat is the central dischord of Madadayo, which is the lengthiest part of the movie. While it seems ridiculous to worry over a cat (even in a movie), Kurosawa paints an allegory of lost values amidst burgeoning capitalism. The cat went missing just before the appearance of the businessman who wanted to built a house three storeys high and which would effectively block sunlight from Uchida’s house. The owner refused and was repaid by the students who decided to bought the piece of land for the man’s kindness.
The cat also represents the possible children that the couple could have had and loved though it magnifies Uchida’s loneliness and yearning for companionship. Hence, the disappearance of the cat as much as it is about Uchida’s state of mind, is also the conflict which was already planted in the earlier scenes when he believes he can lead a solitary life; and upon finding himself worrying sick over a cat, realises his folly. Animals, like humans with their free minds, cannot be bought over by providing food and captured for domestic pleasure.
The appearance of the black cat, Kururu refills the hole but Uchida learns an important lesson, that he needs to love the people around him whom he calls the “Harvests of God”, rather than worrying about a cat, whom he has no control over.
The last part of the movie, after resolving the conflict, once again returns to Uchida who has now lead a full ripe life over 70; and still attending the birthday parties organised by his students. Now, Uchida gets to see during his party, his student’s children. Kurosawa never let his protagonist die but shows us his dream – that of a child playing hide and seek – an innocent child within a vast spacious backdrop recalling autumn (symbolising old age).
Madadayo arrives at a full circle not by ending Uchida’s life but by showing what life always has to offer. Kurosawa’s last film is painterly warm and full of assuring colours.
Tuesday, August 12, 2003
La Cage aux Folles (1978)
Directed by Edouard Molinaro
This is a satire or spiff depending on how you see it. It is quite funny at certain parts such as the scene where Renato and Albin tries to play straight in a local bar.
The story is simple. Renato Baldi (Ugo Tognazzi) and Michel Serrault (Albin Mougeotte )is a middle-aged gay couple who owns a night club, La Cage aux Folles that features female transvestites. Laurent (Remi Laurent), the young son of Renato born out of wedlock when he slept with a woman years ago; was raised by Renato and Albin together comes home from college to tell them that he is getting married to a young woman, Andrea (Luisa Maneri).
The problem then lies with the women’s family when they decides to pay them a visit. This spells trouble because Laurent’s fiancee’s parents are prim and proper folks. The girl’s father, M. Charrier (Michel Galabru), is the Secretary General of the country’s ruling party, the Union for Moral Order.
Hence, the whole family has to undergo major reconstruction to put up a straight front to welcome the visitors, who are also facing some problems of their own. Apparently, Charrier is hounded by the press because the president of the party is found dead in the arms of a minor prostitute.
Besides the camp jokes on the gay characters, particularly’s Albin’s shrieks and dramatic behaviour, La Cage aux Folles also exposes the intricacies and fallacies of gay couplehood in a non-threatening manner. The gay couple seems contented to live in their own world and well-liked by their neighbours except the boys at the bars.
It is difficult to say that La Cage aux Folles helps to raise the consciousness of gay lives when it was first released in 1978 because it portrayed and reinforced a stereotypical view of gay men or transvestites, which most gay people and activists might find offensive.
Yet, it is such funny and entertaining movies that the mainstream is more likely to accept.
Hulk
Directed by Ang Lee
Computer effects in Hulk is imposing and awesome. Then, there are the cinematic cuts and styles such as dividing a scenes into corners and sections likening to watching a comic book unfurl the pages that makes it more exciting visually.
Bruce Banner (Eric Bana) is a scientist working at the Berkeley Nuclear Biotechnical Institute with a pretty ex-girlfriend, Betty (Jennifer Connelly). Their project was met with disdain and disruption from a corporate executive, Talbot (Josh Lucas). After Bruce met with a fatal accident, he finds himself mutate into Hulk, a huge green monster, when he gets angry.
Hulk’s strength lies not so much in its effects or stylish cinematography; but rather the intricate and sombre Freudish psychological dissection and analysis of the characters with dreams and repressed memories.
David Banner (Nick Nolte) , Bruce’s father represents the missing father figure while General Ross (Sam Eliot), Betty’s father is polemically the opposite – so imposing and authoritative that Betty felt estranged. Strangely, the movie fails to shed light on the role of mothers. Nothing was mentioned about Bruce or Betty’s mother.
The notion of scientific progress and intervention is even out with the emergence of Hulk, who is a product of accident. Liek most sci-fi, it questions science, in this case, the role of genetics engineering; and how it raises difficult issues of understanding it. Perhaps the most telling sentence comes from the protagonist, Bruce when he relates his mutation to Betty, “when it happens, when it comes over me, when I totally lose control, I like it." Biological science is as mysterious as psychology.
Compared to Crouching Tiger Hidden Dragon, Hulk is a much heartfelt film harking back to Ang Lee’s earlier films such as Ice Storm which was a family – teenagers drama conflict. Hulk withstands repeated viewing and stands as one of Ang Lee’s best to date. Never mind that it is a comic book adaptation, the well-paced slow moving plot marries intense credible character study with a sci-fi backdrop. Hence, It is quite impossible to classify Hulk into one strict genre as it belongs to both fantasy, science fiction and melodrama. Cult classic if not box office success.
Directed by Edouard Molinaro
This is a satire or spiff depending on how you see it. It is quite funny at certain parts such as the scene where Renato and Albin tries to play straight in a local bar.
The story is simple. Renato Baldi (Ugo Tognazzi) and Michel Serrault (Albin Mougeotte )is a middle-aged gay couple who owns a night club, La Cage aux Folles that features female transvestites. Laurent (Remi Laurent), the young son of Renato born out of wedlock when he slept with a woman years ago; was raised by Renato and Albin together comes home from college to tell them that he is getting married to a young woman, Andrea (Luisa Maneri).
The problem then lies with the women’s family when they decides to pay them a visit. This spells trouble because Laurent’s fiancee’s parents are prim and proper folks. The girl’s father, M. Charrier (Michel Galabru), is the Secretary General of the country’s ruling party, the Union for Moral Order.
Hence, the whole family has to undergo major reconstruction to put up a straight front to welcome the visitors, who are also facing some problems of their own. Apparently, Charrier is hounded by the press because the president of the party is found dead in the arms of a minor prostitute.
Besides the camp jokes on the gay characters, particularly’s Albin’s shrieks and dramatic behaviour, La Cage aux Folles also exposes the intricacies and fallacies of gay couplehood in a non-threatening manner. The gay couple seems contented to live in their own world and well-liked by their neighbours except the boys at the bars.
It is difficult to say that La Cage aux Folles helps to raise the consciousness of gay lives when it was first released in 1978 because it portrayed and reinforced a stereotypical view of gay men or transvestites, which most gay people and activists might find offensive.
Yet, it is such funny and entertaining movies that the mainstream is more likely to accept.
Hulk
Directed by Ang Lee
Computer effects in Hulk is imposing and awesome. Then, there are the cinematic cuts and styles such as dividing a scenes into corners and sections likening to watching a comic book unfurl the pages that makes it more exciting visually.
Bruce Banner (Eric Bana) is a scientist working at the Berkeley Nuclear Biotechnical Institute with a pretty ex-girlfriend, Betty (Jennifer Connelly). Their project was met with disdain and disruption from a corporate executive, Talbot (Josh Lucas). After Bruce met with a fatal accident, he finds himself mutate into Hulk, a huge green monster, when he gets angry.
Hulk’s strength lies not so much in its effects or stylish cinematography; but rather the intricate and sombre Freudish psychological dissection and analysis of the characters with dreams and repressed memories.
David Banner (Nick Nolte) , Bruce’s father represents the missing father figure while General Ross (Sam Eliot), Betty’s father is polemically the opposite – so imposing and authoritative that Betty felt estranged. Strangely, the movie fails to shed light on the role of mothers. Nothing was mentioned about Bruce or Betty’s mother.
The notion of scientific progress and intervention is even out with the emergence of Hulk, who is a product of accident. Liek most sci-fi, it questions science, in this case, the role of genetics engineering; and how it raises difficult issues of understanding it. Perhaps the most telling sentence comes from the protagonist, Bruce when he relates his mutation to Betty, “when it happens, when it comes over me, when I totally lose control, I like it." Biological science is as mysterious as psychology.
Compared to Crouching Tiger Hidden Dragon, Hulk is a much heartfelt film harking back to Ang Lee’s earlier films such as Ice Storm which was a family – teenagers drama conflict. Hulk withstands repeated viewing and stands as one of Ang Lee’s best to date. Never mind that it is a comic book adaptation, the well-paced slow moving plot marries intense credible character study with a sci-fi backdrop. Hence, It is quite impossible to classify Hulk into one strict genre as it belongs to both fantasy, science fiction and melodrama. Cult classic if not box office success.
