The Week in Review - 20/12/09

FILMS

• Precious (Lee Daniels, USA, 2009)
• Sayat Nova (The Colour of Pomegranates, Sergei Paradjanov, USSR, 1968)
• Avatar (James Cameron, USA, 2009)
• Bright Star (Jane Campion, UK/Australia/France, 2009)
• Planet 51 (Jorge Blanco/Javier Abad/Marcos Martínez, Spain/UK/USA, 2009)
  

DVD

• The Killers (Robert Siodmak, USA, 1946)

Precious
I'm a bit hesitant to write about this film because it's a worthy film, well-made and deserves to be seen. I, however, found it very disturbing and came out of the cinema feeling unwell. For me, it does for bleak social drama what torture porn does for horror. It subjects its audience to increasing levels of depravity, testing one's endurance.

While films like Antichrist and Irreversible challenge with their depictions of physical violence, this one is more about the sexual, emotional and psychological abuse endured by its protagonist, Precious, in an impressive screen debut by Gabourey Sidibe. Mo'Nique also impresses as Precious' obnoxious and foul-mouth mother, and the film features various raw and naturalistic cameos by singers Mariah Carey (as a social worker) and Lenny Kravitz (as a nurse).

All in all, this is a gutsy film, that others seemed to appreciate more than I - most of the audience at the screening I attended were Amnesty International members. Again, I hope it finds an audience, and its recent nominations for various awards may help. But it's not something I'll see again.

The Colour of Pomegranates
This film screened with Tarkovsky's Andrei Rublev which, with a running time of 165 minutes, made it impossible for me to stay. My pneumonia earlier in the year has meant I have to overlook such late nights as I focus on staying well. And that's a pity, because that meant my closing Melbourne Cinémathèque film of the year was a disappointment.

The film is without dialogue and seems largely theatrical, and fringe at that. I had trouble staying awake and found it boring as hell. I suppose that makes me a cultural philistine. So be it.

Avatar
I saw Avatar the first time in 3D and indulged my curiosity by seeing it in 2D. It was a fascinating experience.

First, the visuals are nowhere near as strong. They're relatively flat - and I don't just mean because they're not in 3D. The colours seem somewhat drained of their brightness we see in 3D. It seems that the film was made specifically for 3D and perhaps it's been further processed for 2D to try to get it to look acceptable. It is acceptable, but if this was your only experience of the film, you'd be wondering what all they fuss about this film was about. Yet, I prefer the 2D experience, because there's nothing between me and the screen. As I've written previously, the 3D technology is a distraction.

Secondly, the story stands up quite well on second viewing. In fact, some of the points that slightly bothered me the first time (like the environmental and terror messages) seemed insignificant this time. Perhaps it's because I knew they were coming and when they did they had less impact. It was like this for me with The Matrix also. The first time, the love bit at the end was a bit silly, but on repeat viewings it seemed perfect.

While the story is still nothing special, it is solid and has enough meat on its bones to engage an audience. Bear in mind that I'm not the target audience and I'm seeing it for the second time. At the point where Jake Sully turns up as Taruk-something or other, it even brought tears to my eyes. I love that scene.

Watching it in 2D, I was more conscious of the film being mostly CGI, much like Lord of the Rings, but it wasn't a problem.

As I memtnioned, if you watched this film only in 2D, you'd be wondering what all the fuss was about. If you see it in 3D, you'll know. And I do think it's worth seeing again in 2D. I may even see it again in 3D, just to take more note of the technical aspects.

Bright Star
This is certainly a beautiful looking film, one of the finest for the year, perhaps even more so than The Piano. The music ain't bad either. The narrative is a bit flat for me, certainly no The Piano. But, to its credit, its more emotionally engaging than most period films, especially by the Brits. The French do period much better than the Brits, and this seemed more in that vein and will, I imagine, be well-received in Europe.

Cornish does take centre-stage and rises to the challenge. I was impressed by both her performance and her accent. At times, from certain angles, she looked eerily like a young pre-Botox Nicole Kidman.

All in all, the film is low-key and artistically credible. Some of those outdoors shots are magnificent, and so are the indoors ones. FWIW, the missus loves it as much as The Piano, and I'm thinking maybe it's more of a chick flick than The Piano.

Planet 51
It is amazing to realise that this is a Spanish film, because it looks, sounds and feels like a Hollywood middle-of-the-road kids holiday flick. It's OK, but I wouldn't recommend it unless you're taking kids to a holiday flick. For that, it's enjoyable enough, but otherwise I'd give it a miss.

The Killers
I saw this at the discount shop by the Kino cinema and at $5 I knew I couldn't go wrong. Immensely entertaining, funny, suspenseful and a class film noir. Burt Lancaster gets top billing but his role plays out in the shadows of Edmond O'Brien who seems to be channeling Humphrey Bogart, as an insurance investigator who is attempting to discover why a gas attendant was a target for two hit-men.

The film uses every cliche, but looks fantastic in black and white, using long shadows and tough-guy speak. It's no challenge, just fun.

The Week in Review - 6/12/09

FILMS:

• Vengeance (Johnnie To, Hong Kong/France, 2009)
• Proshchanie/The Parting/Farewell (to Matiora) (Elem Klimov, Soviet Union, 1983)
• Where the Wild Things Are (Spike Jonze, USA, 2009)
  

Vengeance
I basically just stumbled on this film by chance when I couldn't find anything worth seeing and starting browsing through yourMovies. I was a bit gobsmacked to find that a new Johnnie To film was screening and that I'd heard nothing about it. Hoyts Melbourne Central regularly screens Asian films, which seem to cater to the large Asian student market, and it was here that I recently saw the Korean film, Haeundae.

We had a To season at Melbourne Cinémathèque last year and I really enjoyed the style of Exiled. Vengeance shares a lot in common with that film - it's a Hong Kong crime action thriller. To does for this genre what Sergio Leone did for the Western, and his clever use of music at key moments (ie, showdowns) conjures up a sense of the spaghetti Western.

I was surprised to find the film opening with French actress Sylvie Testud, and it is Johnny Hallyday who is the main protagonist as her father who arrives from France to wreak vengeance on those who killed the members of his family. Now Johnny Hallyday is not really actor, even though he did OK with Patrice Leconte's L'homme du train (The Man on the Train). But, like that film, it doesn't really matter. He just has to look cool, spout a few lines and let the director take control of the story and the action.

This is, after all, a Hong Kong action flick - not something you take too seriously. There's the usual bunch of crims, who we get attached to. The smart guy, the fat guy and another guy. There's the double crossing and the twists and the impossible escapes. There's a reasonable amount of blood but it never looks real. The humour is just right and all in all it's good entertainment in a genre that generally we don't see enough of. So, if you can, take the opportunity to see this film by a very credible but under-valued film-maker.

The Parting
Asya's Happiness didn't turn up on time at Melbourne Cinémathèque, so this film was selected to replace it at short notice. Hopefully we'll screen Asya's Happiness next week. I didn't know one from the other, but was pretty excited to learn that we were going to see a film by the great Elem Klimov, the director of what is perhaps the most powerful film I've ever seen, and certainly my favourite war film - Come and See - which was made after The Parting.

The Parting was written by Klimov's wife, Larissa Shepitko (The Ascent), and was also to be directed by her. Tragically, she died in a car accident on the first day of shooting and Klimov later took up the project as a tribute to his wife.

I was amazed at how much Klimov's style had developed in the short time between making The Parting and Come and See. I don't think one would appreciate the earlier film quite so much if they hadn't seen the later one. In short, Klimov perfected in Come and See, techniques that he was clearly attempting in The Parting. The most obvious similarity was a forest scene where the camera stalks an elderly member of the village Matiora, whose days are numbered. The village, on an island is to be deserted and flooded to make way for a hydro-electric project.

There's two more weeks of the 60s Soviet Cinema screening before the year's end, and I'd like to catch as many of these as I can. Next week, the first film is not yet confirmed (apparently the print of Heat is not up to scratch), which will be followed by Tarkovsky's The Steamroller and the Violin, followed by Shepitko's Wings.

Where the Wild Things Are
Spike Jonze has always had a wild imagination, having directed such notable films as Being John Malkovich and Adaptation. This latest effort doesn't have the benefit of Charlie Kaufman's writing that those films did, but it doesn't really matter as Jonze (with Dave Eggers as co-writer have found their own voice.

Where the Wild Things Are is an inventive translation of Maurice Sendak's famous book, which I and all my children have grown up on. The book is mostly visual with very little dialogue; Jonze has done similarly, but fleshed out the story with more of Max and his family, and more adventures with The Wild Things. The story has been altered, particularly Max's home life and the nature of his arrival and return from the land of The Wild Things. While I was looking forward to seeing how Jonze depicted Max's leaving home, I wasn't disappointed by the re-interpretation. It all flowed consistent with the source material's sensibilities.

The most fascinating aspect for me is the re-creation of The Wild Things using Jim Henson's Creature Factory. These animatronics/giant puppets are just amazing, a kind of cross between some of Henson's Muppets and the Banana Splits characters (from the 1970s), but on a grand scale. Their detailed reproduction is unmistakably authentic and their facial details, including eye and mouth movements are truly impressive. There's a real charm to this kind of old-fashioned special effects that leaves CGI for dead. I mean, we know these are just puppets, but the physicality, the reality of their existence is very endearing. We know that this action is not taking place in front of a green screen, it's mostly all real.

The variety of scenery (mostly filmed in Victoria) is splendid, adding wonderfully to the visuals. I loved the music, much of which was children singing, giving a sense of playground laughter and frolicking. As a film, Where the Wild Things Are has a real air of originality, a freshness and playfulness that should appeal widely to both children and adults in equal measure.