The Big Night tells the story of George La Main (John Drew Barrymore), a teenage kid whose rather meager and awkward. On his brithday, his father is severely beaten in front of him by Judge, a sports writer who performs the beating in George's fathers own bar. The father shows no resistance to Judge's actions, but George wants revenge. The Big Night is a rather great, different type of coming of age story which uses the tropes and the Noir genre to effectively deconstruct masochism. Essentially we follow this head strong kid who goes out to avenge his father, and through a series of events, learns that things aren't exactly how they appear. It's not 'The Servant' in terms of dynamic compositions, but it still has some great sequences in terms of how Losey positions the camera, choreographs the scene, etc. The best example I think of is the scene where George's father is beaten. Losey doesn't show the beating at all, but instead opts for a single long take, focusing on the face of young, George witnessing his father being caned, only providing the sound and one's imagination as to what George is seeing. I think the character George is just a fascinating endeavor in itself: The way he rehearses his toughness in the mirror, for example, or how he mistakenly insults the black singer at the night club by basically telling her that she was gorgeous, in-spite of being black. He's a character whose innocence and desire to be tough really shine through, making this film a very fascinating deconstruction of masculinity.
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Based off of Frantz Fanon's essay, Concerning violence, from his book The Wretched of the Earth that was buried by the French Government, Goran Olsson's documentary is a searing expose on European Colonialism on Africa and how at its utter core, colonialism is violence at its natural state. Offering a fresh visual essay type narrative of Archive footage, Concerning Violence dissects the continent's history to the very core, being a poignant expose on humanity's failures and shortcomings. With Lauren Hill's poetic narration, Concerning Violence offers a host of newly discovered archival footage of the struggle fpr libration from colonial rule in Africa. Making a convincing argument that violence is simply natural in colonialism, the film shows how both sides embrace violence, with the African people relying on it as their only sense of power, unable to feel any type of freedom otherwise. Colonialism hasn't disappeared, simply evolved under increasing capitalism around the world that leeches on third world countries in Africa, using its resources fort their own gain. While some may argue that there is nothing in Concerning Violence that they haven't seen before I'd argue that simply isn't the point, as the film almost defines itself for its poetic take and uplfiting finale that while somber, offers hope for Africa, asking to the people their to be better than other world leaders not falling into the same mistakes, evolving as human beings. Taking place in 1920's Dublin, The Informer tells the story of Gypo Nolan, a man who has been ousted by the Irish rebellion and is starving on the streets. Torn between his allegiances and his need for money due mostly to a woman, Gypo rats out his friend to the authorities, setting off a chain of events that sees the Rebels desperately trying to find the Informant. John Ford's The Informer is an absolutely beautiful film -the fog soaked nights which swallow the streets of Dublin, the piercing beams of light creating this great atmosphere of mystery, intrigue, and danger, this film is a beautiful sight to see. I found the events of this film to be particularly compelling because of Victor McLaglen's performance as Gypo Nolan. Gypo is a brutish man whose not the brightest person in the world. He's a tragic character in that even after his betrayal we see the overwhelming sense of guilt that instantly begins to take him over. The film has some exceptional scenes centered around Gypo's guilt- the scene at the Wake probably being the standout. I think the biggest fault of the film is that Gypo's drunk, happy spending ways, though amusing, take up too much of the film and really are the least interesting parts. I get that it's sorta showcases Gypo's limited mental capacity and is needed to help drive the Rebels suspicion but I thought it took away somewhat from my sympathy for Gypo. That being said, this is still a powerful film about guilt and forgiveness. Definitely more on the top tier of the John Ford films I have seen.. Jeremy Spensser, a loving father and husband, is a genius humanitarian, viewed as one of the brightest minds on the entire planet. After accepting the Nobel Peace Prize, Jeremy is tragically killed in a car accident, his death sending shock-waves and sorrow throughout the scientific community. His father William, a brain surgeon, refuses to give up, figuring out a way to transplant Jeremy's brain into the body of a hulking, robot body. While at first deemed a resounding success by William, the robot soon begins displaying increasingly aggressive behavior, eventually going on a murderous rampage in the United Nations. Eugene Lourie's The Colossus of New York is a low-budget monster feature that tackles many of the same thematic issues raised in Mary Shelly's Frankenstein. A parable about the dangers of man attempting to play god, The Colossus of New York argues that humanity is made up of more than intellect, with each individual's soul being something that cannot be replicated by science. The film wears this message on its sleeve, even spelling it out for the viewer during an exchange between William and another scientific colleague, but the film works more so than not do to its solid emotional core. That emotionally core is centered around Jeremy's young son, who manages to be one of the few people who is able to reach Jeremy under the hard, cold, steel exterior of his robotic body. This relationship is important because it's what makes the Colossus a sympathetic monster, leading to a strong concluding sequence that rather deliberately, through juxtaposition of violence and a bible quote, warns of the vanity of man trying to be god. With her parents away, twenty-two-year-old Nicole is enjoying her peaceful summer with her best friend Veronique. With the home to herself, outside of her brother's band practices, Nicole enjoys her idyllic summer where she tries to avoid as much responsiblity as possible. When Nicole and Veronique both show interest in the new drummer of the band, they begin to discover that their friendship isn't as strong as they previously thought. Stpehane Lafleur's You're Sleeping Nicole is a quiet, stylish treat that perfectly captures the age of adolescense between adult responsibility and childish antics. Nicole is a character that does everything selfishly, only interested in her respective feelings and emotions. This doesn't mean she is mean-spirited, just at a time in her life where all she cares about is her own desires, subconsciously trying to discover who she is and what she wants out of life. Tu Dors is a film that accurately portrays the young twenties lifestyle, where many find themselves questioning what the hell they are doing with their life. It isn't a glamourous film, with Nicole having a menial job while living in the suburbs at her parents house. The film doesn't give any details into her backgournd, feeling almost like a dream. Te narrative mirrors the protagonist, being lackadaisical yet observant, creating a tone of that's playful, wry, but mysteriously poignant. You're Sleeping Nicole aims to capture the aimless part of youth where everything is constantly evolving, where a person is beginning to put together the pieces to the type of person she wants to become. While Nicole aimlessly drifts through life Lafleur captures moments of poignancy, subltely commenting on how these moments are shaping the woman she is becoming. Featuring wry humor and an overall lackadaisical narrative, Stephane Lafleur has created one of the more original and interesting films dealing with a character aimlessly trying to find purpose. Johann, an older man, works as a security guard for the Kunsthistorisches Art Museum in Vienna. Being there for several years, Johann has become enamored with the art and individuals who frequent the museum, finding a sense of solace behind the quiet walls. Anne, a Canadian woman, has just arrived in Vienna to visit her relative in the hospital, and through a chance encounter the two strike up a friendship, each sharing an appreciation of art. Bound to be too slow for the average viewer, Jem Cohen's Museum Hours is a meditative love letter to the art world, attempting to deconstruct the meaning and importance of Art in society. Centered around the platonic bond formed by Johann & Anne, Museum Hours examines multiple aspects of art, most notably its ability to have different meanings for different individuals. Whether Art provides a window into the past, spiritual reassurance, or profound discussion about the human condition, Jem Cohen's Museum Hours captures how art's greatest aspect may be its ability to touch so many people in so many different ways. A film full of lots of fascinating ideas, Museum Hours' discussion about the anointment of value is simple yet profound, showcasing how art evolves through time, and in doing so directly affects the commercial value. Cohen's film argues that Art derives value or worth over time, essentially proving how monetary value (in the moment) means very little in terms of a pieces true value. Consisting almost entirely of static compositions, Museum Hours visually expresses the relationship between art and life, with Jem Cohen's framing routinely showing the beauty in the mundane, reminding the viewer that perception is everything. Jem Cohen's Museum Hours is a slow-paced exploration of Art's relationship with life, touching on a host of fascinating discussion points that is sure to be enjoyed by all Art lovers. Mark Christopher is a 35-year old, award winning screenplay writer who is stuck in Hollywood, only being perceived as a comedy writer, Mark desperately wants to be taken seriously as a drama writer. On Christmas Eve, two police officers stumble into Mark's house with a 17-year-old "delinquent" Susan, whose been picked up for vagrancy and brawling. The cops don't want to see Susan in jail on Christmas and because of Mark's empathy, he decides to let her spend a few days with him. His intentions aren't entirely good natured, as Mark views Susan as source of inspiration for his flailing hollywood career. Mark and Susie share a special bond over the next few days, with Frank eventually coming to the conclusion that the only way to keep Susan out of juvie is through marriage, a decision he immediately regrets. Frank Taslin's Susan Slept Here is a light and fluffy romantic comedy that is a little taboo given the romance involves a 35-year-old man and a 17-year-old woman. Debbie Reynolds is adorable as the title character and Frank Tashlin's signature Techincolor style keeps the film lively and vibrant. Tashlin's film captures Hollywood, where the entire entertainment industry pumps through the city of Los Angeles. The police officers that bring Susan over worked as consultants for one of Mark's films, and every other character works in the film industry in some capacity, whether it be a lawyer, assistant, or writing partner. While the film no doubt speaks to love being timeless, the other aspect of the film is a subtle critique of the shallowness of Hollywood and its accolades. Intentional or not, by the end of the film many of the main characters find happiness by leaving Hollywood, suggesting that there are more important things in life whether it be love or civic duty. Outside of a beautiful surreal dream sequence, Susan Slept Here is not upper-echelon Tashlin, but that doesn't mean it isn't a strong film in its own right Philip Kaufman's remake of Invasion of the Body Snatchers is centered around Matthew Bannell, a San Francisco-based Health Inspector, who begins to have several close friends complain about their relatives or significant others acting strange. Most notably of those experiencing strange behavior is Matthew's close colleague, Elizabeth, whose husband has become unresponsive, a shadow of his former self. Investigating these strange occurrences, Matthew and Elizabeth soon discover that the Earth's population is slowly being taken over by an alien force, replacing all humanity with much more subdued, group collective-type versions of themselves. Philip Kaufman's Invasion of the Body Snatchers is one of the few great remakes in cinema history, a film that takes the original concept and expands on it, paying homage, but also creating a film that is socially relevant for its era. In a time of post-Vietnam paranoia and the growing concerns of communism, Kaufman's film is a powerful social commentary on the importance of the individual, with the pod-people being an horrifying representation of "group think". Sharing a similar style and aesthetic to the conspiracy thrillers of the 1970s, Kaufaman's Invasion of the Body Snatchers is an impeccably made slice of paranoia, masterfully using tight compositions, abrupt camera movements, lighting, and sound design to create this haunting journey. With this dense odor of paranoia enveloping the film, not much violence or terror via the "pod people" is actually seen on screen, but that doesn't stop the film from having a sense of dread running throughout the entire film, creating uncertainty as to whether the protagonists even stand a chance. A masterfully made horror film, Kaufman's Invasion of the Body Snatchers is one of the few remakes that stands on its own two feet, paying homage to the original while simultaneously making the story thematically relevant for its generation. It has been over seven years since the mysterious disappearance of Tricia's husband Daniel yet Tricia has yet to declare him dead. Her younger sister Callie comes to live with Tricia in her time of need, atempting to help Tricia through the difficult process of accepting her husband's death and moving on with her life. Just as Tricia declares her husband "dead in Absentia", her sister begins to notice omnious occurences originating from a nearby tunnel. Mike Flanagan's Absentia is a well-made low-budget horror film that relies on atmosphere and mystery to tell its engrossing supernatural story. Absentia is a film that cares about its characters and while the acting does leave something to be desired, the characterizations are strong. Absentia works because it isn't simply a horror film but a meditation on loss, with Tricia and Callie each having their own deep-seeded demons. The film uses these flawed, struggling character to its advantage, playing with perception in creative ways both narratively and thematically. Absentia has its share of effective jump scares but it knows the importance of building continuous tension and dread, being a film that cares far more about overall atmosphere than the quick, cheap scare. A creative twist on the supernatural thriller, Mike Flanagan's Absentia is a well plotted horror film that is frightening but also a surprisingly poignant examination of loss. Crystal and her boyfriend Leo are in the middle of a mysterious road trip through central Florida. The circumstances of this trip isn't clear, but judging by their actions and the intense relationship the two share, it's apparent that something bad has happened. Amy Seimetz's Sun Don't Shine is a intoxicating lovers-on-the run film that brings a unique perspective to its examination of these two troubled lovers. The characters in Sun Don't Shine have a far more volatile type of relationship than most films of this ilk, with Seimetz's examing the domination and submissive nature of such relationships that are born through violence. From the opening frame of Amy Seimetz's Sun Don't Shine it's unclear and ambiguous as to what transpired to send these two characters on their statewide journey, but their heated altercations and paranoia make it clear that these two have something to hide. Crystal is a fascinating character, a timid, simple character whose overly romanticized vision of love leads her into this volitale relationship, being prone to suggestion and submissive to Leo's demands. She is a dependent character in an emotionally abusive relationship who finds herself intoxicated by the passion and desire she feels for Leo. She is far from an innocent character, being a deeply troubled soul, but it's apparent that Seimtz is interested in attempting to her perspective. Seimtz film is impressively visceral, working wonders on its small budget with handheld photography, and composition that creates an expressionsitic piece of filmmaking that is claustrophibic and intense. Narratively, Sun Don't Shine is a cryptic film that doesn't spell anything out for the viewer, allowing the character's backstory to be revealed naturally through the storytelling. Amy Seimtz' Sun Don't Shine provides a pensive look into two deeply troubled individuals, examing the destructive nature of passion and mental anguish. |
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June 2023
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