"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.