"Spirit of the Beehive" (1973), Directed by Victor Erice

"Spirit of the Beehive" is a very different type of film to break down. To begin it has a slower pace than other films. The story seems to drag on throughout the film in a sluggish manner for my taste. It is interesting creating a story however around a little girl who watches a Frankenstein (1931 original) movie and wants to find the monster, but of course there is no real monster. There's also the fact that the Spanish Civil War has just ended and the county for a good amount is left in ruins, so there is a very war torn atmosphere throughout the film. The spanish civil war affected a lot of people and we get to see some of the residuals of that through these two small children Isabel and Ana.

The camera work and style is very straight forward however, a lot of hots seem to linger longer than they should. The one scene when Ana (I think it was Ana), was playing dead and scared Isabel was a very moody scene and brought light a very dark feeling. This movie has a sort of depressive feeling to it. The framing of the farmhouse, which Isabel goes to and finds the man holed up makes for a very effective scene set-up, but I think the whole piece just waits to long to get to the subjective point. The movie does take advantage of its setting to create a haunting mood, but there is something very offbeat about the director's approach. Obviously that's Erice's style I guess, but it's not for my taste. I would have made this film very different.

Just like in any other post-war drama there needs to be a good hook and that seems to be missing I think. I really want to explore this film deeper, but since I don't have it on hand to watch again I can't do so. If there was one thing I would switch around it would be the relationship between the two main characters. There needs to be a different conflict and the subjective nature of this piece follows a path that is darkly lit and not overly effective to grab my attention anyway. For some reason I am reminded of surrealist images in watching this movie. Maybe it's the time period, but this movie has that awkward early 1970's feel to it, which is not a bad thing however, it does not work for me. I will say though that the use of musical influence on several scenes does help in adding to the war torn atmosphere. I still haven't seen the ending, or at least I don't think I did. The last thing I remember is the little girl giving the man in the farmhouse an apple. I haven't seen past that point, so it's tough to categorize the rest of this movie.

"Desperately Seeking Susan" (1985), Directed by Susan Seidelman

"Desperately Seeking Susan" is the type of film that is rich with style (80's style that is). Although outdated in some ways compared to today's films there is a constant quality that does not degrade over time and that is the story and director Seidelman's approach to create a finely tuned contemporary comedy/drama. This film is also a cult item because of its depiction of the New York Area (Greenwich Village). Something I noticed also is the feel of this film. It has a very independent filmmaking style and look, but has that commercial feel to it as well, which is of course because of the two big name stars Madonna and Rosanna Arquette. The flavor of this film reflects a time period that is so much fun. The fashions, hair and the music reflects such a perspective of this particular time that unfortunately younger crowds today will not understand. Every generation has its styles and what they consider good (although currently I wouldn't say there has been too much good), however good filmmaking is timeless.

In the opening of "Susan" one has to wonder what direction the film is taking. The story for this film doesn't appear to me to be just another average comedy/drama/love story type of film, it goes beyond that with the characters alone. The character of Susan, a drifter, someone who does what she wants, but still has that common bond with her love interest who she meets with through personal ads in the paper. Then there's the character of Roberta, someone who just envies "Susan" life so much that she wants to be her in a way. Of course let's also add in a criminal looking for a priceless pair of earrings which belonged to an egyptian queen. From beginning to end there's always something to keep your interest. Also let's add a case of amnesia to the mix to make things more creative and role reversal between Susan and Roberta. The location use gives the film more purpose. NYC creates such a mood that influences the movie as well because you can't help but relate to the film in a way because most of us know the NYC area and can connect the movie to reality.

Being the music video era "Susan" takes advantage of that by having Madonna and also what is one of her biggest hit songs featured in this movie "Into the Groove", which is played in the nightclub scene where Susan meets up with Roberta's husband from New Jersey. The club scene gives us a slice of life in that particular time. The jacket is another important part of this film because I think it acts in a way to symbolize certain things going on. It's also ironic that Susan's jacket has a pyramid and the earrings she's in possession of belonged to an egyptian queen. Also the jacket is what remains as a connecting point because it is not how Susan loses her key to he locker with the earrings, but it is also what makes our two main characters meet, and it's also how the main love interest character played by Aidean Quinn comes into play because it's the jacket that he first notices about her.

Culture provides an essential element into "Desperately Seeking Susan". It's also showing us a difference of lifestyles at the time as well. Roberta is from Jersey and has a basic married life, while Susan is a city girl and has a free wheeling lifestyle with no limits. This is also a film that fits in with the 80's new wave. Although the new wave would draw to a close a few years only after this there are certainly elements to be noticed in the way people acted and dressed. We get the contrast of suburban life and city life through seeing the story unfold of Susan and Roberta."Susan crosses over so many styles and genres (like I said cult, new wave, role reversal, etc). In comparison with other filmmakers it would be hard today to re-capture the elements which made this film unique. Seidelman has the right touch that captures a convincing atmosphere and weaves an intricate web of story lines, which unfold in precise puzzle like format. Seidelman's other films like "Cookie" and "Smithereens" have some elements like "Susan" has. Interesting side note, the film "Cookie" form 1989, had a few scenes filmed near where I live and a location I used for one of my films, which is the LInden Airport. Kind of funny how things come around again in the world of filmmaking. My film of course is nothing like that of Seidelman's.

NY Times Article # 2 "Limite" from 1930 & "You are Not I".

NY Times Article Reviews

I found both articles to be very interesting. There’s nothing like unearthing a long lost film with a cult following especially since I like cult items. Sara Driver’s adaptation of Paul Bowles’ “You Are Not I” sounds to be a likely short that would appeal to the underground and film student crowd. The fact that people still want to see this film shows that nothing ever really disappears it just goes away for a while. Just like a trend in a decade it does come back, but sometimes in an altered form, and of course the altered form in this case is a better copy that has been discovered to still exist of “You Are Not I”. The story itself has a mass appeal, which would explain a constant interest.

Not everyone can make a film and when you use every cent you have that says you’re serious about what you’re doing. You know it’s an independent film when the director uses a good amount of friends to help get the job done. I mean who can afford to pay especially at today’s union rates and SAG actor rates also.

The second article on the restored film called “Limite”, directed by Mario Peixoto from 1930, is indeed an offbeat work. In the article it is said that although made in 1930 this film will appeal to younger audiences of today. I find that to be interesting because it is very had to get young crowds to enjoy a silent black & white film from 1930, and it’s 2 hours. For that time period two hours is indeed lengthy for an independent film and a good amount of commercial films in that matter.

I am surprised how many people endorse this film. The article mentioned famous actors and directors who go through great lengths to watch this film, so there is certainly something attractive here. I’ve always found Brazilian cinema to be kind of slow and dry, but maybe I’m wrong with this film. Could it be very entertaining? That’s a question to be answered when I watch it. Brazilian cinema is so different from American cinema and I’m sure this film is no exception.

NY Times Article # 1 "You Are Not I" by Sara Driver.

NY Times Article Review

I found both articles to be very interesting. There’s nothing like unearthing a long lost film with a cult following especially since I like cult items. Sara Driver’s adaptation of Bowles’ “You Are Not I” sounds to be a likely short that would appeal to the underground and film student crowd. The fact that people still want to see this film shows that nothing ever really disappears it just goes away for a while. Just like a trend in a decade it does come back, but sometimes in an altered form, and of course the altered form in this case is a better copy that has been discovered to still exist of “You Are Not I”. The story itself has a mass appeal, which would explain a constant interest.

Not everyone can make a film and when you use every cent you have that says you’re serious about what you’re doing. You know it’s an independent film when the director uses a good amount of friends to help get the job done. I mean who can afford to pay especially at today’s union rates and SAG actor rates also.

Journal: Un Chien Andalou, short film from 1929

First off I must say that this short film is the most oddball thing I've ever seen. There's no evident story line just visionary scenes of violence and artistic examples through visual examples. The random scenes do not connect in any way, but there is an attraction to this. Because of the offbeat approach one can't help but look on in interest because of the sheer madness of it all! The opening scene gives us a man out on a balcony looking at the moon and then suddenly we are forced into watching another scene almost immediately of this man slicing a woman's eyeball open. For the time that this was made I would imagine this to get a very mature rating because of the violence. Even now that eyeball scene seems just as gruesome as it was then. The same goes for the other random scenes of madness.

The man with a rope in hand pulling on two pianos with dead horses on them is mind boggling. You can't make sense of it all, so just watch it and enjoy it for what it is, which is artistic expression through film. What we have is a surrealist film depicting the ugly side of man. German Expressionism (1919-1924) and French Impressionism 1917-1930) are two very distinctive styles from different regions of filmmakers. What's the purpose of "Un Chien Andalou"? I'm sure a lot of people who see it wonder. This is the kind of short film where everybody will view it differently because much like analyzing the human mind, which is never really complete the same can be said for this film. No one answer is honestly correct because no explanation is ever given in this silent short of the purpose is. I think the purpose is sheer insanity of ourselves and this short shows us that. Take a look at this short in its entirety and give your opinion is it's madness or genius. I think it is both and there's a message in it to ourselves about what makes us go to far in terms of violence and being purely crazy!

Here's something I found, "The eternal themes of life, death, lust and love are thrown up at various points, although there is no framework on which to attach these emotions. This is of no consequence though as Buñuel has already hurried onto the next sequence, violently cutting so that the desired woman becomes naked in a flash - a picture of what are ardent suitor really sees. Un Chien andalou does not require such deep analysis though, being much more a film which should be purely experienced. It achieves that which Buñuel and Dalí aimed for and, with a live music accompaniment, is unstoppable".

Journal: "Beauty and the Beast" (1946 version), Directed by Jean Cocteau

There have have been many versions of "Beauty and the Beast", however Jean Cocteau's version is much more darker than all other film versions. A fantasy world in other versions is now a nightmare world in this darkly lit classic. "Beauty and the Beast" presents many messages and concepts to filmmaking as well as what makes an effective story. I've seen a few versions, which include the 1983 version of "Beauty and the Beast" along with the disney version, but Cocteau's has much more in terms of depth and character. The television series that was done in the 1980's with Ron Pearlman & Linda Hamilton is actually something worth checking out, but this 1946 version is quite superior! This movie is very surreal and transcends into such visuals that are in themselves poetry. Some very early special effects are also obvious, which would be used many times in other future films. You can kind of say that "Beauty and the Beast" employs many effects that are very much ahead of their time. Here's the trailer for "Beauty and the Beast".

The scenes involving disembodies hands and transporting from one set to another showcases a very supernatural touch that would be used in countless horror films up until even today. Almost every shot is so elaborate and crafted to convey the dark mood of this film. Although the film does end on a happy note it is actually very depressing because in order for the beast to become human again another man must first take his place in death. Not exactly the most upbeat method, but it certainly gets the point across that Cocteau's film is surreal. "Beauty and the Beast" is so different from other films of its time especially those of hollywood however, this film is considered main steam compared to Cocteau's other work. Here's a review clip I'd like to mention by Mark Bourne, "This is one of the most accessible and enjoyable of Euro "art house" fare. Cocteau's previous stint as a director had occurred 16 years before with 1930's Blood of a Poet, an avant-garde mishmash of hieroglyphic surrealist imagery. Beauty and the Beast's more grounded conventional narrative mindfully pulls cards from the surrealist deck, but it doesn't litter the card table with them. Some of Cocteau's avant-garde colleagues, in fact, tugged their beards at his making such a comparatively mainstream film". Cocteau captures the art and craft of true surreal cinema with ease. Here's another clip to watch:

Although not a horror film it certainly comes off as one a little. Here's something that Eisenstein says in his book, which I think applies to the character of the beast in this movie, " The inner monologue as a literary method of abolishing the distinction between subject and object in stating the hero's re-experience in a crystalized form, is first observed by research workers in literary experiment as early as 1887, in the work of Edouard Dujardin, pioneer on the stream of consciousness, Les lauriers sont couples". The beast is the subject and the object provided is the key, which he gives Belle. This leads to the film's climax that answers the prolonged question of what made the beast. When you think about it movie relates to our everyday world. Society can be both beauty and beast especially when you stop and look very closely at everything and everyone. What do we create worlds of fantasy? Obviously to escape the horrors of our everyday existence, but there's more behind the mask than just the beast because the mind is so intricate that few can ever figure out what makes everyone do what they do.

Rashomon!

From 1950, directed by Akira Kurosawa, "Rashomon" is a very different and unique film. First of all the story is one that has been done before. but not at the time this movie was made. The fact that we never see any authority figures (judge or cops) creates what could perhaps be an illusion that there is a trial taking place in the film. Each person tells their side of the story, but which side is fact? That is a question that is resolved most oddly. The limited amount of sets shows us that although their is a lot going on it's very confined overall;speaking in set terms (due to production costs I would insist). Their is mush to be said in terms of conflict. Each character is into their own conflict. So many shots display intense meaning. The framing of every scene is almost mystical in its execution! The distance between the actors was obviously cheated to create a more effective scene setting and photogenic mood between the tension and conflict of each character.

Eisenstein's theory of montage can relate to this film's structure and especially certain scenes. The whole movie is almost a flashback (a story told from different perspectives), the point is the story that is being told already happened, therefore it is in montage fashion that the past now unfolds through the scenes of what happened to each character involved. Although a dramatic film it is obvious that there are some spiritual overtones; for example, the scene when the wife was channeling the spirit of her dead husband created an almost different mood entirely. It also it interesting because we hear the dead man's side of the story. The self explanation that is given creates another illusion of reality to each character and the viewer. Tonal and rhythmic montage both come to mind when comparing various moments in "Rashomon". ""In rhythmic montage it is movement within the frame that impels the montage movement from frame to frame. Such movements within the frame may be of objects in motion, or of the spectator's eye directed along the lines of some immobile object", Eisenstein states. This I believe fits a lot of the scenes between the bandit and the woman.

Akira Kurosawa is a very different style of filmmaker. His other films represent the finest in story and structure with emotional elements intertwined. "The Seven Samurai" is perhaps is other most noteworthy film, which was spun off several times by different directors. The best version was "Magnificent Seven" from 1960, which is still an american classic of western filmmaking! Few modern films can convey the same depth of "Rashomon". There are lessons to be learned not only in style, but in purpose as well. No shot in this film is without a strong meaningful purpose, which drives the story home. From every Close-Up to each establishing show there are so many visionary excerpts to awaken one's mind as to the importance of this film's allegory. The fact that WW2 ended not to long before this film is reflected in the desolate landscapes. There are also constant references about all those that died, which refers to the tragedy of the bombing of Hiroshima. The aftermath of war is depressing and this film brings that to our attention.

Also in this film the eyes of the characters speak louder than words. Every moment of a character's expression shows us how intense this film is and the situation! Looking into one's eyes can tell the truth and bring to light pure horror and fear. The wife of the samurai has the most obvious expression to convey suspense and horror as well as the bandit played brilliantly by Toshiro Mifune. This movie proves that you don't need to rely on dialogue because the actions can speak just as effectively to the story itself and us the viewer. The music also serves as another highlight of suspense and atmosphere. The music in this production is like that of a thick mist that engulfs a small london town. It is felt and has a presence that drives the film as well as anything else.

I would also point out that the ending is most powerful. When the three men find the baby where they are taking cover from the rain speaks to us about another point that the film creates. The baby at the end serves as a symbol to society. The baby is a symbol of hope in the final scene of the movie. Mankind is filled with evil nature and liars. Every nation around the world no matter what race or religion has evil! The nature of man is baffling at times. No one can truly sum up what every dark fear is or what every happy moment is. In this film there aren't many happy moments, which can relate to life, especially in a war torn country because there are not any happy moments when your life has been altered forever by someone else's cruel insanity! Kurosawa's message in this movie goes to show that mankind is filled with everything from good to bad, but more so bad. Only one can hope that those born into the future will lead the way to a brighter path for us all, therefor the child shall serve as a light of hope for society. This film serves as a message for filmmakers and all viewer in society.

400 Blows (1959), Directed by Francois Truffaut... A misunderstood youth by Brad.

To start off with "400 Blows" is an effective piece of French filmmaking. The atmosphere and attitudes of society are reflected in this film of adolescence and misunderstanding the nature of youth. There is a message to be learned from "400 Blows". It is a message that carries throughout the years. Attention is something that everyone craves especially kids and this film shows us that with Jean Pierre Leaud's portrayal of Antoine. Misunderstood by his parents Antoine, turns to doing bad things, which includes stealing, lying and running away from home. Other films of this time period reflect social views as in "400 Blows", but this film does something more than those others because it is more on a personal level of feeling. Big hollywood blockbusters don't focus as much on just the small elements, but "400 Blows" does. We get to see a darker side of youth that is misled and unappreciated by those who should appreciate it. Those being Antoine's parents and teachers! Here's a trailer for the movie to give you a small taste...

"400 Blows" displays a very unique approach in terms of camera work as well. A lot of different angles and panning shots were used as well as interesting tracking shots such as the intro credit sequence with the drive through the city. Also the scene at the carnival with the round machine spinning around, the point of view shot was almost dizzying. The expression of the world and the child's life becomes enhanced by the angles and techniques with which it is photographed. Films of the late 50's and early 60's display their own meaning, but with others such as "Rebel without a Cause", "Beat Girl" and "Blackboard Jungle" among others they have that Hollywood feel to them, whereas this film feels more personal on a level that can relate to each young individual who sees it. Here's a trailer from "Blackboard Jungle" to show a comparison to Hollywood style:

The instinct of our nature is that of what we make of it. Film theory and art form serve as passage ways for expression through words and demonstrations in creativity. The style of montage is something that is present also in "400 Blows". The scenes near the end of the film are good examples of montage when Antoine is at the disciplinary school. The camera work was effective as was the music score to accompany the feeling of emotion in choices made by both the parents and Antoine. This is a scene that is of particular importance to show a sense of montage:

From beginning to end there is no shortage of a moral message. Truffaut's film will stand as a fine dramatic effort that probes deep into the mind and the soul. Aside from the directing the acting is first rate all around. Everyone performs their role to the fullest especially the mean spirited teacher who constantly abuses Antoine. If there's anything else to be said it is that this film goes deeper than the traditional confused adolscent movie of this era. Although today's younger generation most likely has not seen this film it is aged a little, but still carries a similar meaning to today's youth about right and wrong.

Eat Drink Man Woman. A Review.

Director Ang Lee, brings to light a touching drama of emotion and love. I'm sure many fathers and daughters throughout the world could relate to the story of this movie. The character of Chu (father of 3 daughters) is an involving character brought to life by Sihung Lung, who I think did a fine job in his performance as Chu. Living with his three daughters and sharing his life along with theirs, and of course Chu's cooking provides a center piece for the story being presented. Chu showcases the everyday life of an average man who happens to be a professional chef. His trade secrets of cooking creates an effect since his one daughter likes to cook, but Chu never lets her enter his kitchen in the beginning of the film. Here's the trailer for Eat Drink Man Woman:

The cooking scenes are very intricate and showcase just how much talent and patience it takes to prepare a real meal. Apparently the filming of the opening Sunday dinner took a week to film I read. Just goes to show you that nothing is easy to film when you want it just right! Cooking is presented as an art in this film and that art is both emotional because through his cooking Chu expresses himself. There's also the fact that Chu is losing his ability to taste his own food, which creates a sort of sadness in a way. A chef without taste is like a baseball player without a ball. The camera angles and style of shots for the cook sequences are all very nicely executed. A big thumbs up to the director and camera men. This movie shows that good cooking knows no bounds, so here a related clip about cooking:

Here's another clip. This is for chinese cooking:

Twain culture is very different, but we all share the same general goals and ideals. Life has several roads and each of us goes down those roads. Whether it is the high road or low road we take it once we have set our course. The characters in this film do just that in the lives they lead. Each daughter travels a different road to their future. You have the basic love story set-ups as well for each character including Chu, who as a thing with a younger woman. There' also the one daughter who is a school teacher who is interested in an athlete who is at her school. The sense of story and drama was somewhat basic, but nothing over the top like that of other dramas with morals and values. The basic yin and yang seems to be a good way to sum up the sense of style. This film has a Hollywood feel somewhat, but does not go into conflict as much as other movies would of this type especially, one with three daughters. Any other director would have probably had Dynasty style conflicts and subplots. Here's a good comparison of traditional Hollywood drama compared to the tame drama of "Eat Drink Man Woman". This is a trailer for another movie that deals with several sisters:

We all have realities to face and Eat Drink Man Woman shows things in a subconscious light. Those blessed with wisdom are not always the ones who get the greatest role in life, but they can see beyond today and look into tomorrow at what will be. There is a somewhat spiritual feeling to this film as well. Near the end of the film Chu and his daughter find out who they really are and reconize that their lives are growing different and not all of them can live together anymore. Not because of dislike, but because it is not possible due to relationships and the fact of growing up and leaving the home nest. Getting older and finding new interests is a part of life and that is a part of life that Chu and each daughter must deal with. Any parent and son or daughter in no matter what country has to face the same finding of life. What is the meaning of life? Here's a quick clip that has one answer to that question:

Once again I must mention music. The music in "Eat Drink Man Woman" was very bland unfortunatly. I didn't get an establishing sense of the music score. Nothing really called out to me. Most of the music maintained that oriental style, but in a subdued way it seemed. The music of this country is however most interesting. The eastern world has much to offer in the stylings of very talented artists that America just can't produce. Here's a clip of one such artist Kazu Matsui, who is an extremely talented musician. He has a taste for western influences and it meshes together with his eastern style nicely:

This other clip is from one of my favorite overseas bands. Show Ya is a Japanese metal band and they are still around today.

That's about it for this film. I did enjoy it and must say that I would watch it again. It seems like the kind of movie you need to watch twice to understand better. Another thing it is very important to keep your taste buds. Good thing Chu got his taste back!

Central Station A Review with Brazil!

First off let me say that "Central Station" is very slow moving. The movie seems to drag on and on. It's not as bad as "Children of Heaven", but it is not far off. Just wanted to give all you readers that warning. The story is about a letter writer and reader named Dora, who seems to be a bitter person at first glance. She doesn't even do her job. All she has to do is mail out letters and she doesn't she keeps them in a drawer in her apartment or she just rips them up and throws them out. I personally don't understand this. She gets paid to write letters and mail them, so why not do your job woman! I found "Central Station" very boring and dry. Here's the trailer for this film:

It would seem that a lot of films to come out of these third world foreign countries are long and slow, which isn't bad, but it helps when you have an entertaining plot line. Also you need to keep things moving at a pace that won't put your audience to sleep. "Central Station" has no action or entertaining plot twists to keep it afloat! The travel across Brazil to bring the child back to his father should have been an entertaining cross country adventure, but instead it turned into a cross country nightmare... for the viewer that is! No doubt the camera work is first rate. There are many scenic shots however, shots and scenery alone cannot save an entire film. This is one of the scenes from "Central Station" that is nicely shot and actually one of the better scenes of the movie. In this scene Dora is having lunch with the truck driver and she makes an advance towards him. It is an intimate scene, but also a funny one because the driver doesn't want anything like that so he slips away leaving her stranded with the boy:

The actors do portray their roles well, but the subject matter is so basic and done in a bland fashion. I can't believe this film won awards. Sorry about that however, it has to be said. If people can put money into making a film like this why can't they invest in other films that are better. The DP of this film obviously did his job because there are a lot of beautiful scenic shots. When Dora and the boy arrive at the town where his father is supposed to be it's very well presented. The set-ups and town atmosphere works to help portray the poverty and desolation of the area which they are in.

The drama is very strong in the upcoming scene when the boy is actually united with his brothers. The realization that his father is not there brings to mind the usual drama that you would see in an American soap opera. Not having a father is an item that many people can relate to. Thousands of children are born each day without fathers. Both America and the third world countries have this problem. People must cope with the loss or revelation that they don't have the benefit of parents. Here's a clip showing that:

Another item brought to mind is that of human slavery, which "Central Station" touches on when Dora at first brings the child to a so called adoption agency, but actually they are human traders. Child slavery is something that exists and will continue to exist. Most nations know of the problems, but when there are so many it is really tough to crack down on them. Life is brought and sold like meat at a market. The child slavery ring is especially big because they want to condition the children for hard work at basically no cost. In a way China, Brazil and other places thrive on this because of the cheap labor. Making just 10 cents an hour is not pay it is slavery! People have an interesting way of sugarcoating things, but you can't sugarcoat the element of human life and the treatment of children for that matter. Here's a clip of the child slavery ring:

Another thing is the music in Brazil. This film does give a slight taste of the kind of composed music found in foreign films that come from within this region. The contemporary, but somewhat classical approach works effectively. Making a dramatic statement can be found through the music in this film. The piano music fits very nicely with the action that is taking place on the screen. To sum up in all "Central Station" is not the worst that foreign cinema has to offer however, it is not the greatest. Remember not everyone will like everything and this film falls into that category. Here's one last clip from "Central Station", and this is perhaps the most dramatic and heart wrenching part of this film.

Tsotsi: The African Cinema...

Considering the third world country aspect is the most imporant reflection of Tsotsi, along with the morals and developmWhile not ent of its central character of the same name as the title of the film. Tsotsi falls somewhere between the description of an urban thriller and crime story. A genre of crime stories is typical among any cinema, but in African cinema it is a little bit different because the goals of the main characters are not those of intelligent minds. Africa is a place where desolation is apparent and especially in South Africa the crime rate is very high. Since the 1970's South Africa has been talked about since their crime rate as developed somewhat of an infamous conversation piece among people who don't know too much about Africa. Here's a small sample of Tsotsi. Enjoy this trailer for the film:

After the development of its story line it becomes abvious that crime for the central charcters is a way of life, and they really don't know any better. In a sense of the world decency comes to mind, which is brought to light by one of the members of Tsotsi's gang. The one gang menber Boston, who is beaten up by Tsotsi at one point is a character that tries to inform Tsotsi about decency, which is a reoccuring theme throughout the entire movie. Most of Tsotsi's early actions in the film show a lack of respect and decency, which can be said about a lot of our world today because people in general lack decency! Here in America things come easy to certain people, but most must suffer. The same is for third world countries as well because the only difference aside from the landscape is that they have less food than us. In the 1980's getting money for third world countries was gaining popularity. Here's a clip of one of many commercials:

In relation to Africa, the country has gone through many changes both good and bad. One of the most violent and intense times in African history was when in the 1970's when Idi Amin Dada, was in power. His control over his country men and violent temper and tactics made him an evil infamous man in African history. There is much to be said about crime in third world countries such as Africa.

The ending of Tsotsi brings forth a light of redemption to the main character. It certainly was a turn of events when he gave the kid back to the family. The mind of a criminal is tough sometimes to locate because many things can lead into the mind of a thug & killer. Demented and dangerous are certainly two words that in today's world can be put to describe many famous criminals like Manson, Bundee & Gacy who are considered evil in a sense of the word however, Tsotsi turns his persona around by the end of the film. The usual character development is obvious in Tsotsi, from beginning to the end when Tsotsi's mind becomes that of someone who develops respect, decency and a true sense of right and wrong. The study of criminal minds is something of interest because seeing the early signs of an up and coming criminal means that maybe with a little help they can change. Here's a clip of an interview with someone who is a criminal in the honest sense of the word:

I'll say one thing I would not be very fond of traveling to South Africa on my vacation. Trouble never ends in no matter what society you are in however, some nations are taking steps to try and change that. There is one thing you can't always change and that is the beginning of a persons life. Those who are privelaged are born with little or no worry whereas, those who have less or no money must make their way through a cutthroat world with little or no help. The gap between the rich and poor is not getting better it is getting worse and crime is a solution that a lot of young people turn towards in a world that they believe gives them nothing except grief! This riot shows an example of just how unruly the people have become because of society:

As a crime drama Tsotsi, scores high on the quality scale of depiction of human emotion and life. The acting is first class from the main character to the smallest part. The musical score is also effective. I am not a fan of rap music, but it works to an advantage to help along the atmosphere of the scenes. Music is an important tool to be used as a conveyer of emotions. Here's a musical clip from Tsotsi:

In the end no one will be disappointed with Tsotsi. The film's director should be most proud of his effort put forth because it is nicely shot, well acted, beautiful scenery and the story is tight and strong with current situtations that happen throughout the world. The race may change, but not the message because in the end it doesn't matter if your black, white or fu##in' purple, we are all people and some choose the right path in life and others don't! Two thumbs up to Tsotsi.

Here's one last scene from Tsotsi to tide you over:

Bombay! A review with Indian Cinema.

Action, suspense, drama, comedy and a love story! Bombay has all of these elements and more because let's not forget that this is Bollywood, and music is key to almost any film production there. The musical numbers incorporated in "Bombay" showcase an array of different styles and cultural aspects of Indian Cinema that we here in America rarely get to see. Unless of course you've been to India or watch a lot of Indian movies. The musical influence of this film is very popish and relates very closely to America's musical taste in a way. Here's one of the slower songs in the movie, but notice how effectively the scenery is used in this scene to help along the story and create a haunting atmosphere, especially the water crashing against the rocks. Enjoy this clip of musical emotion:

Basing this movie around a true event with the riots that actually happened back in the early 90's in Bombay, made for an extremely solid surrounding plot line that really keeps the film moving at highway speed. The first half of the movie did drag a little bit with the love that develops between the two main characters, but once the second half of the film kicks into gear this problem is quickly over with. As much as one might think the story line is like that of many American love dramas. The only real difference is between religion and culture. In the end everyone believes in their own power or god and each culture has a different way to reach that god, whether it be through praying or sacrifice there is always a message of religion. The feuds between the Hindus and Muslims is the fuel that when put together with matches (muslims) starts the fire (ruining of Bombay). Here's a clip of the 1992 riots in Bombay plus some story background behind the event:

Getting back to the lighter side once again is the musical expression of Hindu films. There is another American culture cross over. The one dance number can be traced to the style of Michael Jackson in a way, or at least by the wardrobe that the lead singer is wearing. Take a look at this musical number also from "Bombay". Michael Jackson covered the song from "Bombay" called "Hamma Hamma. Enjoy the clip:

The director styled "Bombay" in such a way that it's tough to look away without feeling like you may have missed something. In comparison to other movies that base their story around true events "Bombay" is among the better ones although the 1978 production of "The Wild Geese" is another film movie. Here's the trailer for it:

Since the beginning of filmmaking there are limits to each filmmakers vision depending on what that idea or vision is. Nothing's impossible just extremely hard sometimes. If there was one thing in the world that you could become would would it be? The answer is not always the same as the meaning of a dream, therefore it is most difficult to secure a future in an ever changing world and the ever changing world that surrounds the two main characters of "Bombay" in the second half of the film is in shambles. The effect that a tragedy has on all lives is felt in "Bombay". In this film outside connections are made with everyone whether it be child, man, woman or religious type. Lives intertwine and relationships are complete, but interrupted by a physical and spiritual happening. Relationships are another subject matter that "Bombay" tackles; for example, the love between the two young brothers is felt greatly especially the scene when they find each other after the riots. Here's a clip of that moment:

Relationships are something that everyone can understand in some form or another. There are of course different relationships. Friends and lovers are two different examples of relationships. The two families in "Bombay" hate each other, but at the same time they still love their children even though they have left instead of not getting married and conforming to their parents religion. No one can escape the emotion of relationships. There's good and bad for every man and woman. Life is a gamble and so is meeting someone, so when the two main characters of this movie get together, you can feel something between them even before they got close to one another. Some other films that deal with love and relationships like "Bombay" does are: Backtrack (1989, starring Dennis Hopper), Body Heat (1981), Body Double (1984), Last Tango in Paris (1970) and The Girl (1986, starring Franco Nero). These are just a few romantic love story movies with a twist that you should see. Here are the trailers for some of them:

Music and emotion are one because you can't have one without the other. It's like a car without an engine. It just won't run unless the two are together and that is what "Bombay" conveys with our love stricken characters who find happiness and must defend it in order to save themselves from becoming ruined. Faith and courage are two traits that play greatly in the end of "Bombay". Much like modern life in America today without a sense of responsibility and reason there is no focus. The music is that focus aside from the story in "Bombay" because the music works to help along the story. Story through music is one of the oldest expressions in the history of mankind. Since almost forever there has been some sort of story to almost every piece of music. In the 80's there are some pieces that can relate to this such as music from the motion picture "Crystal Heart" from 1985. Here's some material from that movie about love and music:

Overall the director A.R. Rahman, achieved his goal to convey the emotion and love of this story. Every character is brilliantly played and the religious aspects as well as the modern day culture shock of the riots makes for an interesting mix of action and suspense. Here's a closing clip from "Bombay" to tide you over. Also remember one thing music is an important tool and must be used right to either tell or help along a story and "Bombay" is an example of that fact!

Dreams Review 1990

To start off "Dreams" is a very different style of international film. The story and subject matter is very different compared to the other films we've seen so far. I understand that "Dreams" is a compilation of several different stories; however, one can't help but feel neglected. The stories that some of these dreams dealt with were confusing at time. The explanation for each dream is not very clear, or at least not to me. Here's the trailer for "Dreams":

Maybe this isn't my kind of movie, but I felt cheated by the stories because they didn't go far enough into telling a stories effectively. The points are very confusing! The only two stories that I somewhat liked were the following: The nuclear Power Plant exploding and the one with the giant flower and the deformed man who claimed to be a demon! Even the demon one was not as good because it spent to much time dwelling on something that was of little interest. The demon explains how he was a farmer and what happened to the land and him and other people once the nuclear explosion took place. If anyone is interested in a really good Nuclear suspense movie I highly recommend "The China Syndrome" from 1979 starring Jack Lemmon. Although nothing like "Dreams" it is a movie that speaks volumes about the nuclear business and the people involved in it. There was a tragic event back in the late 70's which was Three Mile Island. "China Syndrome" is based on that. There is one thing that this movie does share with "Dreams" and that is the message of you shouldn't screw with mother nature!

A lot of material from these two stories account for the past and I do appreciate that. WW2 is not to be forgotten and it's obvious theat the films director has not forgotten the events of radiation either. We can see this with these two stories dealing with radiation and nuclear trauma! Here is a clip from "The Weeping Demon" story segment:

There is another thing though that I do find good about "Dreams" and that is the musical score. The score was very eerie especially for the nuclear segment and the "Weeping Demon". The dark brooding mood of the music creates a world that enters into the realm darkness reaxhing far beyond man's mortal fear of a nuclear accident, and the dramatic effects that it causes upon the human race. Despite all modern advances in techonolgy there is a fate that sometimes you can't avoid. Too much trust in power and resources can backfire and the two story segments that show this example are very affective in their portrayal of a nuclear tragedy. Here is a clip from Mount Fuji in Red:

The more one watches a certain movie the more that person may like a movie. I think "Dreams" might just fall into that category. Along with the other stories although I personally don't think the highest regard of them they are still good. The first two stories are the weakest of the "Dreams". The second story could be considered somewhat confusing especially since the same child actor is used. At first I thought the second story was a continuation of the first one with the Foxes wedding in the forest that the young boy witnessed. It is not the same story however, there is a link between them in their settings and basic principles of responsibilty.

The Orchard story obviously shows mother nature in contrast against human nature and what human nature has done to mother nature. The destruction of the orchard is symbolic to today's constant battle with the rain forest and various other nature elements, which are constantly at risk from mankind. The moral of the Orchard story is that taking away what doesn't seem like much is actually a greater hurt than anyone can imagine because eventually one thing affects another. Although mother nature is taken for granted this piece does make you take notice of the vital effect through the trees and the eyes of a child witnessing it! Here's Part 1 of the Orchard story:

As a visual element "Dreams" is very breathtaking. The shots are so scenic and really do tell the story, but the elements are lingered on too long and therefore makes the movie seem longer than it is. In comparison there are other dream movies that are much more interesting. The old fashioned style of putting 4 or more stories in one movie always makes for good entertainment because you have so much going on and many different styles to choose from. The anthology film was movie effectively used in the 1960's and 1970's; for example, "Tales from the Crypt" from 1972, is a fine anthology film that keeps you entertained with suspense and horror! Here the trailer to give you a small taste of quality:

The british anthology films that Hammer Studios and Amicus put out were among the best, which included Dr. Terror's House of Horrors (1965), Asylum (1972) and "House That Dripped Blood" (1971), just to name a few. Here the trailer for Asylum:

These movies and "Dreams" both share certain cinematic similarities in the way that they are shot and even story structure in some of the stories. Every story has a purpose and "Dreams" purpose is to show how human nature affects society and health. The director has achieved his goal with "Dreams".

Not One Less Movie Review

Yimou Zhang's film serves as a centerpiece of life in a small rural village outside of the big city. This film also reflects just how careless the big city can be towards people especially those with very little or no money. The message that I took away from this film is that each person has to deal with life in their own way. Life is not fair and the way that some people are forced to live shows just how bad life can be for some. The only bright spot is that dedication to education has not been lost, which is greatly seen in the character of Wei Minzhi. Her dedication to not leaving one student behind gives hope and a sense of fulfillment to those who have little hope or none at all. As the viewer "Not One Less" is a heart wrenching story about poverty, human dignity, city life and education. Here's the trailer for "Not One Less":

China has always been a center for controversy. Throughout hundreds of years China has been through a lot of political and personal changes; for example, the Opium Wars of the 1840's had serious effects on China and their trading. China has also changed reigns more times than a reindeer. Imperialism was what China was before 1911, until the Qing Dynasty was overthrown by Dr. Sun Yat Sen. He was the founder of the Republic of China. After 1911 many things would still go wrong; for example, Chiang Kai Shek's corrupt government rule in the 1940's, which led to the Chinese Civil War in 1949 (Communist vs. Nationalist). WW2 was another huge event that shaped China the way it is today because of Japan's colony rule on certain parts of China. Here's a clip of an original history presentation that aired in several parts on US networks many years ago using compiled clips about the history of RED CHINA as it was back in the 1960's and 1970's. Nixon was first US president to visit communist china. I hope you enjoy this piece of historic video:

"Not One Less" is critical of the Chinese Government in a way and rightfully so. The conditions in which Chinese Village people have to deal with is sad and especially those in the crowded cities. That is no way to live crowded, poor and careless toward human life. Because there is so much human life (population) in China, this does prompt why people and the government do not care and that is because there are so many people. The gap between the rich and poor is seen throughout the world, but I believe that between America and China, they are the kings of rich and poor because the gaps are so vast! There is a cruel side to every government is what "Not One Less" also represents. It doesn't show this is a very obvious and violent way, but it is there to be seen. Here is a clip of the Tiananmen Square incident from 1989, in which many people were wounded, killed and arrested. Protesters in the streets and tanks being called in as well. This show cases the violence that China has at their finger tips to unleash anytime they wish:

Any society has its problems. All over the globe the issues that are seen in this movie are seen in everyday life especially in places that are lower income and live under dictatorship. America is even not what it used to be. Education is one thing that gives insight to those who need it and to those that live for it. Understanding is a tool that some governments try to surpress. Giving education to people makes them form their own opinions on what is what and what is wrong. Society is based upon information to create and build, but there are those who try not to build however, they try to destroy and keep everything for themselves and their elite families. America, China, Africa, etc all have their own selective power to control everything from food to modern inventions. Zhang's film shows the difference between elite people and poor people. There are those who have too much wealth and don't deserve it. Here's a clip of some wealth holders:

Chinese cinema is very intriguing. Although I have not seen to many chinese film except for mostly kung fu movies a lot of Chinese films are very different from that of America. The stories and style of filming are in their own category. Too talk about more modern choices of cinema here's an example of Chinese entertainment, "Crouching Tiger, Hidden Dragon":

Also the movies of Bruce Lee are probably the finest example of Chinese Kung Fu Cinema.

Lee's unfortunate death ended what was a most promising career. Here's a clip from a Kung Fu

classic, "Enter the Dragon", which also co-stars John Saxon. This is probably the most americanized

kung fu film ever made:

The music in "Not One Less" also gives a taste of the styles for that region musically. The score complements

the movie perfectly. In creating the atmosphere of the village and then the atmosphere of the

big city when the teacher goes looking for her lost student.

Overall this film is an effective drama that tells an honest story about survival and caring. Life has its problems, but those who are smart

enough will overcome those problems to hopefully come to find an honest understanding of the way life is. Some things need change and others

need to be changed.

La Femme Nikita An excellent film!

"La Femme Nikita" is one of the finest dramatic action thrillers within the last twenty years. Even though this movie is now twenty years old itself, it still holds up well against the test of time. The plot is very interesting and not complicated to follow, which makes it easier to understand for those who don't usually like foreign films because they may not know what's going on. Everything from the lighting to the styles of shots in this movie are so well done.

"Nikita" has such a gritty realistic feeling to it that shows us a world that is very true and to the point. Assassinations are a very intense subject and even more intense are the people who carry them out and through Nikita we get a nice taste of that feeling.

Anne Parilland as Nikita gives a tour de force performance! She brings depth and sensitivity to the character of Nikita. She starts out crazy and cold as ice, but as the story goes futher she conveys every emotion, which includes love, warmth, toughness, anger, feminity and intelligence. She's tough and sexy, but not without that caring quality. Her contract killer is somewhat ironic as far as moral evolutions go. In the beginnning Nikita, is a drugged up sociopath involved in a drug store robery and kills a cop in cold blood, but this propels the story further which, creates the aloneness of her character. As we watch Nikita develop the manners of a woman and the skills of an assassin it becomes obvious what her true potential is. The character of Bob sees that potential and he is the one who helps her along with an honest care in a certain way.

Even though Jean Reno as Victor "The Cleaner" only has a small part he was essential in this film. His role is one of the most memorable especially the scene in the bathroom when he pours acid on the bodies in the tub and the one person wasn't dead yet! What a great scene.

"La Femme Nikita" also raises another question. Is this movie based on fact or fiction? Do international governments take people and train them as killer just as Nikita was recuited and trained by having her death faked and then being given a choice, which is either work for us or die? I believe the answer could be yes because take a look at the world we live in. There is a little bit of Nikita in all of us. I'll say one final thing, if I had to get knocked off by an assassin I sure hope it's someone who looks as good as Nikta!

Here's to one of the best assassin movies I've seen in a long time.

TWO THUMBS UP!

"Nikita" is full of breathtaking images and scenary; for example, the scenes when Nikita is on vacation in Venice, and she's going down the canal in the boat with her lover. The are are scenes that are downright cold! The scene when Nikita assassinates the woman from the window of the hotel while her lover is in the other room. That is an intense sense and very unexpected. Her vacation really wasn't a vacation it was just another target that she had to get at.

Although the American counterpart (remake) of "La Femme Nikita", "Point of No Return" made two years later is not a bad movie it is not a dignified remake. "No Return" lacks the look, style and gritty attitude of the original. Briget Fonda is not exactly the best choice for the role of Nikita! Also another thing about the remake is that it seriously looks like a bad made for television movie. This isn't Beverly Hills 90210 (which I did not like)! "Point of No Return" should not return anytime soon due to lack of quality.

Also "No Return" moved at a different pace than "Nikita". The pace felt very rushed, which was passing by the quality that the original had because the original took its time to create a good story and effective characters, whereas "No Return" lost its audience right after the beginning of the film! Also the soundtrack wasn't as good as "Nikita". It lacked that brooding style that only Eric Serra could create. Here's an example of Serra's music:

Also another thing about "Nikita" is that the subtitles do not distract at all from the action going on; however, I did notice that some translated versions of this movie are different. I have a copy of this on video and my version has some of the words changed around a bit. Nothing to important, but I just thought I mention it.

Director Luc Besson has a very distinct style of filmmaking. He always keeps his films moving at a brisk pace. I really enjoyed one of his earlier works called "Subway" from 1985, starring Christopher Lambert (of "Highlander" fame). "Subway" showcases Besson's early talent at directing, which has come a long way in terms of style. The story of "Subway" is very different than that of "La Femme Nikita" though, but aside from its director "Subway" and "Nikita" have two main things in common. What they have in common is that Luc Besson tends to use the same people in his films.

Actor Jean Reno and music composer Eric Serra seem to carry over into a lot of Besson's films; for example, Jean Reno is in "Nikita", "The Professional", and "Subway". Also composer Eric Serra has been used in almost everyone of Besson's films; for example, Serra has done music for "Fifth Element", "Nikita", "Subway", "Le Dernier Combat" and "Big Blue".

Serra's music is awesome! It brims with originality and class. His styling is essential to all of Besson's films. "Nikita" has perhaps some of Serra's strongest musical scores. Each score he creates is fitting and develops a background mood that properly accompanies the action going on for whatever scene it may be. Here's a scene from "Subway" featuring a song by Serra:

Luc Besson also recreated "Nikita" in a way in 1994, when he made "The Professional, which is what I would call the male counterpart of "Nikita". Jean Reno did an excellent job as the professional! Although the story is different the purpose the same because the film is about a professional assassin who does his job well because that's what he was trained to do.

In the end there is a sense of truth about ones self and just how much they can take and Nikita took a lot, so the ending was a fitting one. She had no choice but to getaway.