Thursday, December 18, 2003
General Idi Amin Dada: A Self Portrait
Directed by Barbet Schroeder
General Idi Amin Dada, also known as 'Butcher of Uganda' for his despotic rule as President in the 70s, tried to portray himself as a charming, kind and democratic leader but ended up ridiculing himself in this self - approved self-portrait.
The documentary mainly follows him around including a tour of the Nile near Murchison Falls; where he describes his love for elephant, and the fascination with crocodiles. The camera also follows him on various military visits; one of them where he simulated a strategy of using paratroopers to invade Gordon Heights.
These “rehearsals” for the camera extend to a seemingly organized cabinet meeting where he reprimanded his ministers for not being brave enough. In one to one interviews, he reveals ridiculous plots and suggestions (such as setting up a Save British fund) laughs off accusations when Schroeder asks him if he commented that not enough Jews were massacred by Hitler.
During his reign, as many as 300,000 Ugandans are reported to be killed, but the film only slotted in a short segment showing a hitting squad doing their job.
This documentary would not be a good indicator of atrocities committed under his regime. However, it makes interesting study of Idi Amin. As Barbet Schroeder said in the Criterion DVD interview (bundled as an extra feature), he was fascinated with how dictators have that “innocence” in them and which evil is just underneath. Scary words indeed.
Directed by Barbet Schroeder
General Idi Amin Dada, also known as 'Butcher of Uganda' for his despotic rule as President in the 70s, tried to portray himself as a charming, kind and democratic leader but ended up ridiculing himself in this self - approved self-portrait.
The documentary mainly follows him around including a tour of the Nile near Murchison Falls; where he describes his love for elephant, and the fascination with crocodiles. The camera also follows him on various military visits; one of them where he simulated a strategy of using paratroopers to invade Gordon Heights.
These “rehearsals” for the camera extend to a seemingly organized cabinet meeting where he reprimanded his ministers for not being brave enough. In one to one interviews, he reveals ridiculous plots and suggestions (such as setting up a Save British fund) laughs off accusations when Schroeder asks him if he commented that not enough Jews were massacred by Hitler.
During his reign, as many as 300,000 Ugandans are reported to be killed, but the film only slotted in a short segment showing a hitting squad doing their job.
This documentary would not be a good indicator of atrocities committed under his regime. However, it makes interesting study of Idi Amin. As Barbet Schroeder said in the Criterion DVD interview (bundled as an extra feature), he was fascinated with how dictators have that “innocence” in them and which evil is just underneath. Scary words indeed.
Tuesday, December 16, 2003
A Man and a Woman
Directed by Claude Lelouch
The romance of race car driver Jean-Louis Duroc (Jean-Louis Trintignant) and script girl Anne Gauthier (Anouk Aimée) is born when they accidentally met at their kid’s boarding school. Duroc gives Anne a lift home and then decides to call her again because of the chemistry between them.
Since release of A Man and a Woman in 1966, critics have mostly filed it under “light art house”. A romance that spawned light romances such as When Hally Met Sally. The erratic use of black and white, sepia and colour film stock throughout the film is written off as budget constraints; not the result of creative or artistic expression. The jazz lunge original soundtrack by Francis Lai is rated as elevator muzak. It went on to win the Palme d'Or at Cannes, Oscars for Best Original Screenplay and Best Foreign Language Film among others.
A Man and a Woman has a laidback mood which does not really make you cringe thankfully. Duroc and Anne engaged in titillating conversation or sometimes merely smiling at each other, creating chemistry that is easily believable. After all, both of them are atttractive, single and even their kids knows and likes each other. Nothing is in their way.
It is understandable why some critics would view A Man and a Woman as mere entertainment, nothing to fuss about.
Yet, A Man and a Woman employs many different film techniques which seems to work well at times. The black and white film stock which was used when Duroc sent his kid to school is apt as it was supposed to be night. The fuzzy warm romantic overtones filmed in sepia while they were dining with their kids is disrupted with constant close up shots of Durac’s finger, revealing a wedding ring. Anne’s flashbacks is in richly textured colour with a musical soundtrack accompanied by singing from her deceased husband. This is a hint that she still has fond memories of him. When we first see Durac preparing his race tracks, everything was muted. Of course there was the instance where Anne was watching television and was notified of Durac’s race results – shot in black and white (which was explained earlier as budget constraints – hence most indoor filming is also in black and white)
A Man and a Woman is best seen when one is in love. It also acts as a good starting for the beginner film art house student.
Directed by Claude Lelouch
The romance of race car driver Jean-Louis Duroc (Jean-Louis Trintignant) and script girl Anne Gauthier (Anouk Aimée) is born when they accidentally met at their kid’s boarding school. Duroc gives Anne a lift home and then decides to call her again because of the chemistry between them.
Since release of A Man and a Woman in 1966, critics have mostly filed it under “light art house”. A romance that spawned light romances such as When Hally Met Sally. The erratic use of black and white, sepia and colour film stock throughout the film is written off as budget constraints; not the result of creative or artistic expression. The jazz lunge original soundtrack by Francis Lai is rated as elevator muzak. It went on to win the Palme d'Or at Cannes, Oscars for Best Original Screenplay and Best Foreign Language Film among others.
A Man and a Woman has a laidback mood which does not really make you cringe thankfully. Duroc and Anne engaged in titillating conversation or sometimes merely smiling at each other, creating chemistry that is easily believable. After all, both of them are atttractive, single and even their kids knows and likes each other. Nothing is in their way.
It is understandable why some critics would view A Man and a Woman as mere entertainment, nothing to fuss about.
Yet, A Man and a Woman employs many different film techniques which seems to work well at times. The black and white film stock which was used when Duroc sent his kid to school is apt as it was supposed to be night. The fuzzy warm romantic overtones filmed in sepia while they were dining with their kids is disrupted with constant close up shots of Durac’s finger, revealing a wedding ring. Anne’s flashbacks is in richly textured colour with a musical soundtrack accompanied by singing from her deceased husband. This is a hint that she still has fond memories of him. When we first see Durac preparing his race tracks, everything was muted. Of course there was the instance where Anne was watching television and was notified of Durac’s race results – shot in black and white (which was explained earlier as budget constraints – hence most indoor filming is also in black and white)
A Man and a Woman is best seen when one is in love. It also acts as a good starting for the beginner film art house student.
Springtime in a small town
Directed by Tian Zhuang Zhuang
A remake of a 40s Chinese classic, Springtime in a small town is a love triangle of 2 man and 1 woman. Dai Liyan (Wu Jun) and Yuwen (Hu Jing Fan) have been married for 8 years and living peacefully but sleeping in separate rooms. It seems that Liyan is suffering from some unknown disease which has left him moody and and unable to satisfy his wife.
Dai ‘s sister is a lively sixteen year old Xiu (Lu Sisi) who is enamoured with their long time Shanghai ex neighbour playmate, now a handsome doctor, Zhang Zhichen (Bai Qing) when he pays them a surprise visit. When Zhichen was introduced to his mate’s wife, it appears that they had met and were a couple before.
Liyan as the sick head of the house represents metaphorically the state of Chinese tradition which is also materialized as the house he was living in. Though this is supposed to depict post war China; the story basically removes itself from external factors except perhaps in one token scene where Zhichen and Xiu were learning dancing; which again represents the onslaught of westernism; much like the presence of Zhichen – who can also be seen as a threat as he was not only a “western” doctor but also the possible instigator to Dai’s marriage and ultimately, the break up of the family.
Yuwen as the married woman embodies both the tradition as she takes care of everything within the household and hence considered virtuous. On the other hand, her emotions and desires are torn between her husband and ex-lover, who could take her away. Zhichen as the intruder to peace; also saviour of Liyan’s health is the source of dilemma unto himself. his presence gives great joy to the family that is falling apart but also breaks them up because of his emotional entanglements with Liyan and Yuwen.
Xiu is most innocent but even towards the end of the film, we cannot help wonder her fate as a woman in a small town.
Tian Zhuang Zhuang gives his actors a natural breathing space which generally slows down the pace of the film. Within the house, the camera often pans across walls to reveal the claustrophobic nature of the household as well as its inherent void. For outdoor natural scenery takes, actors are more relaxed and the shots adopt a more picturesque beauty to it.
Springtime in a small town captures the subtlety of inevitable changes through microcosm within a fictional household; no matter how fiercely guarded it tries.
Directed by Tian Zhuang Zhuang
A remake of a 40s Chinese classic, Springtime in a small town is a love triangle of 2 man and 1 woman. Dai Liyan (Wu Jun) and Yuwen (Hu Jing Fan) have been married for 8 years and living peacefully but sleeping in separate rooms. It seems that Liyan is suffering from some unknown disease which has left him moody and and unable to satisfy his wife.
Dai ‘s sister is a lively sixteen year old Xiu (Lu Sisi) who is enamoured with their long time Shanghai ex neighbour playmate, now a handsome doctor, Zhang Zhichen (Bai Qing) when he pays them a surprise visit. When Zhichen was introduced to his mate’s wife, it appears that they had met and were a couple before.
Liyan as the sick head of the house represents metaphorically the state of Chinese tradition which is also materialized as the house he was living in. Though this is supposed to depict post war China; the story basically removes itself from external factors except perhaps in one token scene where Zhichen and Xiu were learning dancing; which again represents the onslaught of westernism; much like the presence of Zhichen – who can also be seen as a threat as he was not only a “western” doctor but also the possible instigator to Dai’s marriage and ultimately, the break up of the family.
Yuwen as the married woman embodies both the tradition as she takes care of everything within the household and hence considered virtuous. On the other hand, her emotions and desires are torn between her husband and ex-lover, who could take her away. Zhichen as the intruder to peace; also saviour of Liyan’s health is the source of dilemma unto himself. his presence gives great joy to the family that is falling apart but also breaks them up because of his emotional entanglements with Liyan and Yuwen.
Xiu is most innocent but even towards the end of the film, we cannot help wonder her fate as a woman in a small town.
Tian Zhuang Zhuang gives his actors a natural breathing space which generally slows down the pace of the film. Within the house, the camera often pans across walls to reveal the claustrophobic nature of the household as well as its inherent void. For outdoor natural scenery takes, actors are more relaxed and the shots adopt a more picturesque beauty to it.
Springtime in a small town captures the subtlety of inevitable changes through microcosm within a fictional household; no matter how fiercely guarded it tries.
Pickpocket
Directed by Robert Bresson
The main character in Pickpocket is Michel (Martin Lassalle) who believes that some people are more superior to others; and hence should be allowed to commit deeds above the law. He begins as an amateur but soon befriends a gang of pickpockets. When they were caught, and he knew the police was already on his heels, he left Paris to continue his trade.
Bresson does not explain Michel’s motivation whose actions appears devoid of emotions most of the time. The director also takes pains to show how Michel devotes his life to learn his trade, showing him planning his trips, and practising how to pickpocket. When he joins his gang, the entire sequence of their crime is filmed with great attention to details showing the changing of wallets through hands and co-ordination among the members.
His fear, it appears initially, is his ageing and ill mother whom he had stole money from when he was younger; and refuses to meet until she was dying. He falls in love with his mother’s neighbour, Jeanne (Marika Green) whom he gives up later to his friend, Jacques (Pierre Leymarie); both of whom could save him from a life of crime. On his tail is an inspector played by Jean Pelegri; who also appears to want to give the man a second chance.
It seems Michel’s lust for “stealth” as he claims being a pickpocket is different from other forms of thievery; not only gets him money and hence a means of survival; but also a way to acknowledge his superiority and morally exclude himself from mainstream accepted society. He gets a rush whenever he commits a crime which intoxicates his desire to perform and risk getting caught. It implies addiction which is later reinforced when he is seduced again after he comes back to Paris.
Pickpocket is a classic psychological crime fiction that every film student should see.
Directed by Robert Bresson
The main character in Pickpocket is Michel (Martin Lassalle) who believes that some people are more superior to others; and hence should be allowed to commit deeds above the law. He begins as an amateur but soon befriends a gang of pickpockets. When they were caught, and he knew the police was already on his heels, he left Paris to continue his trade.
Bresson does not explain Michel’s motivation whose actions appears devoid of emotions most of the time. The director also takes pains to show how Michel devotes his life to learn his trade, showing him planning his trips, and practising how to pickpocket. When he joins his gang, the entire sequence of their crime is filmed with great attention to details showing the changing of wallets through hands and co-ordination among the members.
His fear, it appears initially, is his ageing and ill mother whom he had stole money from when he was younger; and refuses to meet until she was dying. He falls in love with his mother’s neighbour, Jeanne (Marika Green) whom he gives up later to his friend, Jacques (Pierre Leymarie); both of whom could save him from a life of crime. On his tail is an inspector played by Jean Pelegri; who also appears to want to give the man a second chance.
It seems Michel’s lust for “stealth” as he claims being a pickpocket is different from other forms of thievery; not only gets him money and hence a means of survival; but also a way to acknowledge his superiority and morally exclude himself from mainstream accepted society. He gets a rush whenever he commits a crime which intoxicates his desire to perform and risk getting caught. It implies addiction which is later reinforced when he is seduced again after he comes back to Paris.
Pickpocket is a classic psychological crime fiction that every film student should see.
Life and Nothing But
Directed by Bertrand Tavernier
Post War French is saddled with Missing In Action (MIA) soldiers and the War Casualties Identification Bureau handling these pricky issues is headed by Major Dellaplane (Philippe Noiret) who not only has to find and identify 350,000 of them; but also deal with bureaucracy; lies from the government and families who come crying to him for help.
He encounters Irene (Sabine Azema), a wealthy Parisian with a senate father in law looking for her sergeant husband and a local teacher, Alice (Pascale Vignal), who is also looking for her missing love partner.
Life and Nothing But story of passion and love is basically portrayed in the relationship between Irene and Dellaplane whose first impression is hardly positive. The former barging into a room of a hospital and acting as if she owns the place; only to intrude upon the bawdy singing of the latter, who reprimanded her for not knocking. Later, when they meet again, it was from a distance; Dellaplane under the sun and Irene in her car. When their gazes met each other, it is a sure sign for the audience that they are likely to fall in love soon.
Life and Nothing But will appear slow moving to the average accustomed Hollywood spectator but the cinematography is constantly and subtly panning to highlight movements. The script is written such that we are allowed to feel for our characters and follow their emotional changes and outbursts. Philippe Noiret conveys the repressed male ideology well – filled with lust, passion and love embroiled for Irene. Sabine Azema who plays opposite him is equally feminine aggressive and defensive at the same time. Pascale Vignal as the teacher manages to make us empathize with her though admittedly she has less on screen time, making her a weaker character.
Hal Hinson of the Washington Post who reviewed Life and Nothing thought the movie lacked “passion”. I guess it depends very much on how much you put yourself into watching it.
Directed by Bertrand Tavernier
Post War French is saddled with Missing In Action (MIA) soldiers and the War Casualties Identification Bureau handling these pricky issues is headed by Major Dellaplane (Philippe Noiret) who not only has to find and identify 350,000 of them; but also deal with bureaucracy; lies from the government and families who come crying to him for help.
He encounters Irene (Sabine Azema), a wealthy Parisian with a senate father in law looking for her sergeant husband and a local teacher, Alice (Pascale Vignal), who is also looking for her missing love partner.
Life and Nothing But story of passion and love is basically portrayed in the relationship between Irene and Dellaplane whose first impression is hardly positive. The former barging into a room of a hospital and acting as if she owns the place; only to intrude upon the bawdy singing of the latter, who reprimanded her for not knocking. Later, when they meet again, it was from a distance; Dellaplane under the sun and Irene in her car. When their gazes met each other, it is a sure sign for the audience that they are likely to fall in love soon.
Life and Nothing But will appear slow moving to the average accustomed Hollywood spectator but the cinematography is constantly and subtly panning to highlight movements. The script is written such that we are allowed to feel for our characters and follow their emotional changes and outbursts. Philippe Noiret conveys the repressed male ideology well – filled with lust, passion and love embroiled for Irene. Sabine Azema who plays opposite him is equally feminine aggressive and defensive at the same time. Pascale Vignal as the teacher manages to make us empathize with her though admittedly she has less on screen time, making her a weaker character.
Hal Hinson of the Washington Post who reviewed Life and Nothing thought the movie lacked “passion”. I guess it depends very much on how much you put yourself into watching it.
The Great Dictator
Directed by Charlie Chaplin
The Great Dictator is a spoof of Adolf Hitler before America went to war with Germany and Chaplin himself said later he would not have made the movie had he known the atrocities committed by the Nazis.
One cannot see The Great Dictator as a war movie; a movie about Nazism or even about Adolf Hitler; instead its message of anti- dictatorship, peace and diversity merely caricaturize Hitler as a ridiculed fool. The dictator in The Great Dictator, Hynkel, played by Charles himself, is a insecure, whining and time conscious mustachioed man who has another Jew barber look like (also Chaplin) living in the ghetto. Hynkel dreams of becoming the ruler of the world as he plans on invading countries and even inviting his dictator comrade, Napaloni, played by Jack Oakie, to come to an agreement on their next target.
The humor is classic Chaplinesque with critics hailing scenes such as Hynkel playing with the balloon globe and his lunch meeting with Napolni that resulted into a food fight as memorable. Many critics view the ending speech as too heavy handed though one must not forget that it is sign of that period of time for most filmmakers to inject some form of moral overtone.
What is interesting in The Great Dictator is that the two roles that Chaplin played in are direct contrast and yet similar. On one hand, we have a happy Jew who loves his job but lives in an oppressed community. His greatest love is Hannah (Paulette Goddard) as a laundry girl who is as brave as he is when it comes to confronting their oppressor. On the other hand, Hynkel is a dictator who is impatient, overtly preoccupied with occupying countries and giving orders to kill.
The former is oppressee while the latter is the oppressor. The former is happy while the other is dissatisfied. One loves the simplicity of life and emotional gain while the other desires total control of others.
Physical similarities aside, both characters are replicas of the tramp we know. We recognize the tramp in the barber easily but not so for Hynkel; but in fact is the insecure “tramp” who has to put up a hard front. Like the tramp that we know, he is deficient with talking – hence flipping between English and babble speak to cover up his shortcomings. He is clumsy (like the tramp) and falls over the steps after his speech. The classic scene in which Hynkel plays with the globe can be understood as the most revealing inner psyche of the tramp trapped in a dictator’s body. It could be argued that Chaplin was merely highlighting “big bullies” with “small men” mentality; and hence in turn deserve some form of pitiful treatment.
The Great Dictator would be one of Chapin’s greatest filmic achievement for various reasons. It certainly is his closest political statement (and possibly quite dangerous) of his time stamped with classic Chaplin trademark humor and characters. Let’s not forget he plays two characters (which he has never done in any other of his well known movies) in one film and managed to confused us into believing they are different.
Directed by Charlie Chaplin
The Great Dictator is a spoof of Adolf Hitler before America went to war with Germany and Chaplin himself said later he would not have made the movie had he known the atrocities committed by the Nazis.
One cannot see The Great Dictator as a war movie; a movie about Nazism or even about Adolf Hitler; instead its message of anti- dictatorship, peace and diversity merely caricaturize Hitler as a ridiculed fool. The dictator in The Great Dictator, Hynkel, played by Charles himself, is a insecure, whining and time conscious mustachioed man who has another Jew barber look like (also Chaplin) living in the ghetto. Hynkel dreams of becoming the ruler of the world as he plans on invading countries and even inviting his dictator comrade, Napaloni, played by Jack Oakie, to come to an agreement on their next target.
The humor is classic Chaplinesque with critics hailing scenes such as Hynkel playing with the balloon globe and his lunch meeting with Napolni that resulted into a food fight as memorable. Many critics view the ending speech as too heavy handed though one must not forget that it is sign of that period of time for most filmmakers to inject some form of moral overtone.
What is interesting in The Great Dictator is that the two roles that Chaplin played in are direct contrast and yet similar. On one hand, we have a happy Jew who loves his job but lives in an oppressed community. His greatest love is Hannah (Paulette Goddard) as a laundry girl who is as brave as he is when it comes to confronting their oppressor. On the other hand, Hynkel is a dictator who is impatient, overtly preoccupied with occupying countries and giving orders to kill.
The former is oppressee while the latter is the oppressor. The former is happy while the other is dissatisfied. One loves the simplicity of life and emotional gain while the other desires total control of others.
Physical similarities aside, both characters are replicas of the tramp we know. We recognize the tramp in the barber easily but not so for Hynkel; but in fact is the insecure “tramp” who has to put up a hard front. Like the tramp that we know, he is deficient with talking – hence flipping between English and babble speak to cover up his shortcomings. He is clumsy (like the tramp) and falls over the steps after his speech. The classic scene in which Hynkel plays with the globe can be understood as the most revealing inner psyche of the tramp trapped in a dictator’s body. It could be argued that Chaplin was merely highlighting “big bullies” with “small men” mentality; and hence in turn deserve some form of pitiful treatment.
The Great Dictator would be one of Chapin’s greatest filmic achievement for various reasons. It certainly is his closest political statement (and possibly quite dangerous) of his time stamped with classic Chaplin trademark humor and characters. Let’s not forget he plays two characters (which he has never done in any other of his well known movies) in one film and managed to confused us into believing they are different.
