Wednesday, April 28, 2004
Kill Bill
Directed by Quentin Tarantino
What makes Kill Bill Volume one entertaining or senseless (depending on your inclination) is its relentless non-stop bloodthirsty killing fest. The result - a triumphant Uma Thurman as The Bride moving on to eliminate more enemies on her list.
As for Volume two, it is a kungfu spoof that is difficult to endure for many reasons. One of them being that the jokes just do not make the cut despite being as usual, tarantinoesquely perversely glorifying violence. There is only so much we can laugh at these cruel gags without feeling as if we are part of the fiasco. As an example, when The Bride aka Beatrix Kiddo (finally we get to know her name) was training with Pai Mei, we laugh at her lousy skills and the shi fu’s insulting Cantonese. In a later duel, when Beatrix blinds Elle Driver (Daryl Hannah), we laugh at the woman’s silliness and her misfortune.
I suppose one of the main reasons why Volume two just doesn’t live up to Volume One is simply that it changed what we are expecting more of – blood. Instead, Tarantino played a cruel trick by “investing” heavily on characterization and fleshing out a plot that verges on anticlimax.
Normally, giving meat to a story is fine but Kill Bill is hardly believable. In fact, certain parts of it is corny. The opening scene of the massacre hardly serves much purpose except introducing Bill, who goes on to make unnecessary small talk. In another scene when Beatrix was buried alive, Tarantino immediately puts in a flashback of her arduous training with Pai Mei to explain how she got away. You can either see it as being a clever tactic or merely trying to “bluff his way through”. The scene of Budd, Bill’s brother, who gets a severe lashing from the pub owner where he works as a bouncer can just be cut away without affecting the plot.
If Tarantino seriously wants to develop his characters, why did he hardly mention Elle Driver who does not seem to have much of a history. So is Budd of whom we only know he falls out with Bill. But over what? Beatrix knew that she could find Bill by finding his father, a pimp, whose role is so humdrum we wonder why Tarantino “spiced” him up with so much “character”.
The reason why Kill Bill Volume One works so well is because we do not expect much “serious” explanations. And when Kill Bill Two tries to do that, we are given sordid colourful details which are mere accessories.
It is one thing for Tarantino to pay tribute to his influences but another when he badly misrepresents them. Pai Mei whose dressing is stuck in the last century is so comical that it makes watching Kill Bill unbelievable. If the kungfu master’s presence and skill is to show off Tarantino’s love for the genre, how is it such that the scenes looked more derivative than anything else? I suspect Tarantino is more concerned with splicing together bits and pieces of what is recognizable in Hong Kong martial arts, rather than trying to determine if they actually work well.
Unlike Godard who made counter-cinema and who borrows heavily from other sources, Tarantino’s tribute to “kungfu” and “western” looks more like a half-hearted attempt to cash in on the fast food dietary habits of Hollywood cinema-goers. Post modernist?
Directed by Quentin Tarantino
What makes Kill Bill Volume one entertaining or senseless (depending on your inclination) is its relentless non-stop bloodthirsty killing fest. The result - a triumphant Uma Thurman as The Bride moving on to eliminate more enemies on her list.
As for Volume two, it is a kungfu spoof that is difficult to endure for many reasons. One of them being that the jokes just do not make the cut despite being as usual, tarantinoesquely perversely glorifying violence. There is only so much we can laugh at these cruel gags without feeling as if we are part of the fiasco. As an example, when The Bride aka Beatrix Kiddo (finally we get to know her name) was training with Pai Mei, we laugh at her lousy skills and the shi fu’s insulting Cantonese. In a later duel, when Beatrix blinds Elle Driver (Daryl Hannah), we laugh at the woman’s silliness and her misfortune.
I suppose one of the main reasons why Volume two just doesn’t live up to Volume One is simply that it changed what we are expecting more of – blood. Instead, Tarantino played a cruel trick by “investing” heavily on characterization and fleshing out a plot that verges on anticlimax.
Normally, giving meat to a story is fine but Kill Bill is hardly believable. In fact, certain parts of it is corny. The opening scene of the massacre hardly serves much purpose except introducing Bill, who goes on to make unnecessary small talk. In another scene when Beatrix was buried alive, Tarantino immediately puts in a flashback of her arduous training with Pai Mei to explain how she got away. You can either see it as being a clever tactic or merely trying to “bluff his way through”. The scene of Budd, Bill’s brother, who gets a severe lashing from the pub owner where he works as a bouncer can just be cut away without affecting the plot.
If Tarantino seriously wants to develop his characters, why did he hardly mention Elle Driver who does not seem to have much of a history. So is Budd of whom we only know he falls out with Bill. But over what? Beatrix knew that she could find Bill by finding his father, a pimp, whose role is so humdrum we wonder why Tarantino “spiced” him up with so much “character”.
The reason why Kill Bill Volume One works so well is because we do not expect much “serious” explanations. And when Kill Bill Two tries to do that, we are given sordid colourful details which are mere accessories.
It is one thing for Tarantino to pay tribute to his influences but another when he badly misrepresents them. Pai Mei whose dressing is stuck in the last century is so comical that it makes watching Kill Bill unbelievable. If the kungfu master’s presence and skill is to show off Tarantino’s love for the genre, how is it such that the scenes looked more derivative than anything else? I suspect Tarantino is more concerned with splicing together bits and pieces of what is recognizable in Hong Kong martial arts, rather than trying to determine if they actually work well.
Unlike Godard who made counter-cinema and who borrows heavily from other sources, Tarantino’s tribute to “kungfu” and “western” looks more like a half-hearted attempt to cash in on the fast food dietary habits of Hollywood cinema-goers. Post modernist?
Monday, April 26, 2004
Best of Youth
Directed by Marco Tullio Giordana
Part 1 – Film Review
Best of Youth reminds us the best of Italian drama the likes of Lucchino Visconti's “Rocco and His Brothers”'. Despite its length – running 6 hours, it is a moving portrayal of the social transformation in Italy, seen through the upheavals of a family rocked by tragedy, lost love and political differences.
The film is set in Rome, 1966, focusing on a middle-class Italian family, the Carati’s. The patriach is a business man Angelo (Andrea Tidona) constantly looking for new business opportunities. His two sons are youthful idealistic Nicola (Luigi Lo Cascio) and Matteo (Alessio Boni) with distinctly different temperaments. Nicola is an aspiring doctor but a joker while Matteo is a serious lover of literature. Nicola’s two closest friends are Carlo Tommasi (Fabrizio Gifuni) - who will later become his brother-in-law and Vitale Micavi (Claudio Gioè); another happy go lucky clown.
When the boys were supposed to go for a beach holiday, Matteo brings an asylum patient he works in, Giorgia (Jasmine Trinca), along with him because he believed that she was mistreated. Their escape to bring her back to her father proved futile as he wanted her re-institutionalized. She was soon captured by the police which caused the distressed Matteo to abandon their trip altogether. Nicola, on the other hand, continued on the adventure alone, as far as Norway, and became a peace-loving hippie while he hung out with the likes of naturalists who recites Allen Ginsberg Howl and swim naked under waterfalls. Matteo meanwhile, took a drastic route to enlist himself in the army and become a riot police.
The brothers crossed paths when they met at the restoration of a library caused by the 1966 flood in Florence. Nicola falls in love with a pianist, math student, student activist, Giulia Monfalco (Sonia Bergamasco). They moved to Tusin and in the spirit of free love, beget Sara without marrying each other.
Providing a sketched out synopsis of Best of Youth will not spoil the pleasure of seeing it, as it is a riveting film driven by dramatic tension rather than plot suspense. The difficulty however, lies in knowing what to write, given the past is interwoven into the present. The people they meet will become important agents in their future.
While some critics might not think much of the film style, and even consider the plot rather dull; Youth however balances remarkably between creating spectator momentum and intensity.
Like many great directors, Giordana practise restrain, especially in the earlier part of the film. The early scenes build the foundation of a to be expecting heavier plot; which will help spectators identify closely with the characters. Hence, when the Carati family quarrel in an early scene over Angelo’s investment, Giordana does not overtly dramatized it. It however opens up space for us to develop an affinity for the family.
The cinematography experiments with middle to close shots in confined areas, long panning shots for natural scenery, revolving shots to reveal contents of rooms, still shots on objects with metaphorical symbolism, among others. By the time Youth gets to the second half, the camera makes use of closer shots and audience familiarity to create emotional affinity. Giordana zooms closer onto actors’ faces; often times, displaying an inner psychological dissonance or emotional trauma. While the abundant use of “simple” and “common” cinematic shots are hardly revolutionary, they are nevertheless a tradition of linear cinema that provides gripping narrative realism.
Particularly fascinating are the facial shots. Giordana makes use of angles, light and contrast to highlight the character’s inner affective state. The photograph of Matteo at the exhibition captures his dual discordant spirit (as which I shall discuss later).
Best of Youth is foremost a family drama though the social and political turmoil that unfolds as a backdrop, is an equally provocative statement inherent in great Italian cinema – think Italian neo-realism. The important events in Italy over a 40 year period that the film chooses to include the Great Flood, student unrest during the “Woodstock era“, the early 80’s terrorism, making transparent the actions of mental institutions, murder of Judge Falcone (showing the pervasiveness of mafia) and implication of a unjust police system (through the work of Matteo as a policeman) are subtle criticisms and protest against a perceived “corruptible” society.
It is revealed in a very early interview scene between Nicola and his lecturer. The latter tells Nicola to leave the country for good and that him included, a dinosaur, and everything old should be wiped out.
Part 2 of review - the Mystery of Matteo
Even though “Youth” technically revolves around Nicola, it is Matteo that is its greatest mystery.
Alessio Boni does not have much acting “space” as compared to Nicola but he carries it off with a brooding pensive look without much difficulty and convinced us his internal dilemma.
Matteo’s dedication to his work and belief in the world of rules and laws are a contrast to what he believes in.
One suspects he joined the police force because he is afraid of confronting his own morals and answering existential questions. As he himself puts it in a conversation with his buddy, Lugi, – he joins the military only because it is one in which he just needs to follow orders.
Foremost a poet, fiercely individualistic, and a lonely man, he is intensely angry and refuses emotional affinity from others. He disapproves anyone to come too close to him including the care and concern of his family and second love, Mirella Utano (Maya Sansa). His obstinately moralistic attitude is seen in his desire to save Giorgia and nab the real culprits behind a drug raid.
A possibility of reading into Matteo’s angst is his inability to understand his own sexual identity.
“Youth” implies subtly in various scenes of a hidden bisexuality. His amorous encounter with a female prostitute reveals a lack of proximity with women. His mother takes great care of Luigino (Paolo Bonanni), his army pal who lost his legs during a riot; which disturbed him to a certain extent because it implied that his mother suspected his homosexual longing or one-sided relationship. Later, when he learnt that Luigi was getting married, his initial response was not of happiness.
Though he falls in love with Mirella towards the second part of the show and even had sex with her, it was under a most bizzare circumstance. Before making out in the car, he was deciding if he should make a phone call (which we are not sure who it is to).
He seems to be able to have sex only with prostitutes or jerk off to television porn, implying a complicated psychological make up than what we can barely make out.
Unlike Giorgia, who is an obvious mental patient and misfit of society, Matteo is a greater mystery compared to her, for he is on the outset, a functional adult. No one knows for sure his motive for committing suicide during the joyous new year season. No one knows why he finds it hard to relate to others despite having a family which seems to care for him. He is his own man in his own island. A question mark like the books he reads.
His death not only throws open the question of what made him jumped to his death – was it a sense of futility, inability to relate to people because of past misgivings, or helplessness to change the world to something he wanted it to be?; but also the fundamental doubt of what existence meant in an “unjust” world.
Matteo is the central element to Youth as he is the most dubious character. He is the link to the past and present – leaving behind a “widow” and a son, Andrea. The latter, with eyes like his father and almost similar outlook will never understand see his father; but is a trace of the former; and it is him who will end the story.
The photograph of Matteo with half of his face hidden behind his own fingers is the film statement – the embodiment of truth and mandacity. His spirit, as Nicola tells Andrea, is Achilles – brave yet destined for a life of melancholia.
If Matteo is the spirit of the film, as what Nicola says, then his brother is the survivor and narrator. He ends it by remarking that all things in the world are made beautiful, despite itself.
Directed by Marco Tullio Giordana
Part 1 – Film Review
Best of Youth reminds us the best of Italian drama the likes of Lucchino Visconti's “Rocco and His Brothers”'. Despite its length – running 6 hours, it is a moving portrayal of the social transformation in Italy, seen through the upheavals of a family rocked by tragedy, lost love and political differences.
The film is set in Rome, 1966, focusing on a middle-class Italian family, the Carati’s. The patriach is a business man Angelo (Andrea Tidona) constantly looking for new business opportunities. His two sons are youthful idealistic Nicola (Luigi Lo Cascio) and Matteo (Alessio Boni) with distinctly different temperaments. Nicola is an aspiring doctor but a joker while Matteo is a serious lover of literature. Nicola’s two closest friends are Carlo Tommasi (Fabrizio Gifuni) - who will later become his brother-in-law and Vitale Micavi (Claudio Gioè); another happy go lucky clown.
When the boys were supposed to go for a beach holiday, Matteo brings an asylum patient he works in, Giorgia (Jasmine Trinca), along with him because he believed that she was mistreated. Their escape to bring her back to her father proved futile as he wanted her re-institutionalized. She was soon captured by the police which caused the distressed Matteo to abandon their trip altogether. Nicola, on the other hand, continued on the adventure alone, as far as Norway, and became a peace-loving hippie while he hung out with the likes of naturalists who recites Allen Ginsberg Howl and swim naked under waterfalls. Matteo meanwhile, took a drastic route to enlist himself in the army and become a riot police.
The brothers crossed paths when they met at the restoration of a library caused by the 1966 flood in Florence. Nicola falls in love with a pianist, math student, student activist, Giulia Monfalco (Sonia Bergamasco). They moved to Tusin and in the spirit of free love, beget Sara without marrying each other.
Providing a sketched out synopsis of Best of Youth will not spoil the pleasure of seeing it, as it is a riveting film driven by dramatic tension rather than plot suspense. The difficulty however, lies in knowing what to write, given the past is interwoven into the present. The people they meet will become important agents in their future.
While some critics might not think much of the film style, and even consider the plot rather dull; Youth however balances remarkably between creating spectator momentum and intensity.
Like many great directors, Giordana practise restrain, especially in the earlier part of the film. The early scenes build the foundation of a to be expecting heavier plot; which will help spectators identify closely with the characters. Hence, when the Carati family quarrel in an early scene over Angelo’s investment, Giordana does not overtly dramatized it. It however opens up space for us to develop an affinity for the family.
The cinematography experiments with middle to close shots in confined areas, long panning shots for natural scenery, revolving shots to reveal contents of rooms, still shots on objects with metaphorical symbolism, among others. By the time Youth gets to the second half, the camera makes use of closer shots and audience familiarity to create emotional affinity. Giordana zooms closer onto actors’ faces; often times, displaying an inner psychological dissonance or emotional trauma. While the abundant use of “simple” and “common” cinematic shots are hardly revolutionary, they are nevertheless a tradition of linear cinema that provides gripping narrative realism.
Particularly fascinating are the facial shots. Giordana makes use of angles, light and contrast to highlight the character’s inner affective state. The photograph of Matteo at the exhibition captures his dual discordant spirit (as which I shall discuss later).
Best of Youth is foremost a family drama though the social and political turmoil that unfolds as a backdrop, is an equally provocative statement inherent in great Italian cinema – think Italian neo-realism. The important events in Italy over a 40 year period that the film chooses to include the Great Flood, student unrest during the “Woodstock era“, the early 80’s terrorism, making transparent the actions of mental institutions, murder of Judge Falcone (showing the pervasiveness of mafia) and implication of a unjust police system (through the work of Matteo as a policeman) are subtle criticisms and protest against a perceived “corruptible” society.
It is revealed in a very early interview scene between Nicola and his lecturer. The latter tells Nicola to leave the country for good and that him included, a dinosaur, and everything old should be wiped out.
Part 2 of review - the Mystery of Matteo
Even though “Youth” technically revolves around Nicola, it is Matteo that is its greatest mystery.
Alessio Boni does not have much acting “space” as compared to Nicola but he carries it off with a brooding pensive look without much difficulty and convinced us his internal dilemma.
Matteo’s dedication to his work and belief in the world of rules and laws are a contrast to what he believes in.
One suspects he joined the police force because he is afraid of confronting his own morals and answering existential questions. As he himself puts it in a conversation with his buddy, Lugi, – he joins the military only because it is one in which he just needs to follow orders.
Foremost a poet, fiercely individualistic, and a lonely man, he is intensely angry and refuses emotional affinity from others. He disapproves anyone to come too close to him including the care and concern of his family and second love, Mirella Utano (Maya Sansa). His obstinately moralistic attitude is seen in his desire to save Giorgia and nab the real culprits behind a drug raid.
A possibility of reading into Matteo’s angst is his inability to understand his own sexual identity.
“Youth” implies subtly in various scenes of a hidden bisexuality. His amorous encounter with a female prostitute reveals a lack of proximity with women. His mother takes great care of Luigino (Paolo Bonanni), his army pal who lost his legs during a riot; which disturbed him to a certain extent because it implied that his mother suspected his homosexual longing or one-sided relationship. Later, when he learnt that Luigi was getting married, his initial response was not of happiness.
Though he falls in love with Mirella towards the second part of the show and even had sex with her, it was under a most bizzare circumstance. Before making out in the car, he was deciding if he should make a phone call (which we are not sure who it is to).
He seems to be able to have sex only with prostitutes or jerk off to television porn, implying a complicated psychological make up than what we can barely make out.
Unlike Giorgia, who is an obvious mental patient and misfit of society, Matteo is a greater mystery compared to her, for he is on the outset, a functional adult. No one knows for sure his motive for committing suicide during the joyous new year season. No one knows why he finds it hard to relate to others despite having a family which seems to care for him. He is his own man in his own island. A question mark like the books he reads.
His death not only throws open the question of what made him jumped to his death – was it a sense of futility, inability to relate to people because of past misgivings, or helplessness to change the world to something he wanted it to be?; but also the fundamental doubt of what existence meant in an “unjust” world.
Matteo is the central element to Youth as he is the most dubious character. He is the link to the past and present – leaving behind a “widow” and a son, Andrea. The latter, with eyes like his father and almost similar outlook will never understand see his father; but is a trace of the former; and it is him who will end the story.
The photograph of Matteo with half of his face hidden behind his own fingers is the film statement – the embodiment of truth and mandacity. His spirit, as Nicola tells Andrea, is Achilles – brave yet destined for a life of melancholia.
If Matteo is the spirit of the film, as what Nicola says, then his brother is the survivor and narrator. He ends it by remarking that all things in the world are made beautiful, despite itself.
