Ostensibly a film about, as the title suggests, a young blonde woman in love, there are a lot of turbulent emotional currents running through. Yes there’s love, but it’s never quite clear who feels love for whom, or whether that’s even something realistic. We start in a large group, as middle-aged soldiers court a small town’s young women — pathetically, at that. Then there’s a romantic pairing of two young people (including the title character, played by Hana Brejchová), then a section at his parents’ home which feels like a bitter rebuke to her (or to him) that things could ever work out. Or maybe they could, but no romantic feeling is uncomplicated or sentimentalised here.
FILM REVIEW: Criterion Collection
Director Miloš Forman | Writers Miloš Forman and Jaroslav Papoušek | Cinematographer Miroslav Ondříček | Starring Hana Brejchová, Vladimír Pucholt | Length 90 minutes || Seen at a friend’s home (DVD), London, Sunday 19 February 2017
A sweet romantic comedy about a young Chinese-American doctor, Wilhelmina (Michelle Krusiec), who has trouble coming out to her community and to her mother (Joan Chen), just as her mother has become pregnant by a man whose identity she refuses to reveal, causing her to be kicked out of her home by her elderly parents. So yes, as you can tell, it has plenty of soapy melodrama. However, the strength of the acting and writing is such that it remains sweet and uplifting throughout. It moves towards an ending that tries to tie everything up happily, and in the context of too many films focusing on the burden and heartbreak of being gay in communities with more ‘traditional’ ideas that’s welcome, not that it hides the difficulty its protagonist goes through. However, on the most part everything is kept light and enjoyable, and it’s easy to identify with Wil’s struggles.
Director/Writer Alice Wu | Cinematographer Harlan Bosmajian | Starring Michelle Krusiec, Lynn Chen, Joan Chen | Length 91 minutes || Seen at home (DVD), London, Saturday 5 August 2017
At some level this is a black women’s twist on a gross-out comedy, which is not traditionally a genre I’ve liked, and yet… It may be too long (at 122 minutes, a good half-hour could easily have been excised), it may be quite mean about celebrity gossip journalists and women posing for selfies on Instagram (I felt like something personal was going on there), it may wrap things up with an excess of saccharine (though admirably focused on women’s friendship with one another rather than on men), but it really is very funny. At times it’s exceptionally funny, especially Tiffany Haddish as Dina, a performer I wasn’t aware of before, but whom I now expect to be in everything, and deservedly so (the scene where she imagines her revenge on a cheating man is satisfying in so many ways). It also features quite the most unexpected male nudity.
It feels like Bridesmaids was in the writers’ minds as a touchstone (not least because they have an actor, Kate Walsh, apparently doing her best to imitate Kristen Wiig), but it also has the brio of Magic Mike XXL in both its setting in the American south (here New Orleans), and its single-minded focus on the buddies-on-a-trip narrative (the presence of Jada Pinkett Smith helps in that regard; she and Queen Latifah also inspire a sweet shout-out to Set It Off, a real 90s classic of the black women buddy genre). Plus, the focus on the women means it dispenses with some of the unpleasantness that marked the women characters in the same director’s The Best Man (1999).
In all, a top comedy, which really deserves its success.
NEW RELEASE FILM REVIEW
Director Malcolm D. Lee | Writers Kenya Barris and Tracy Oliver | Cinematographers Greg Gardiner | Starring Regina Hall, Queen Latifah, Jada Pinkett Smith, Tiffany Haddish | Length 122 minutes || Seen at Odeon Holloway Road, London, Wednesday 2 August 2017
In the long pre-history to this blog, I’ve already written about this film after seeing it on the big screen back in 2007, and even posted it here. Revisiting it again for this project, I am reminded that I find Buñuel’s style, especially in these later French films, both beguiling and maddening in equal measure: short scenes, people wandering into and out of rooms, little attempt to always make any narrative connections or explicate “meaning”. That, plus the very 70s ways of working through issues of desire — by which I mean not just a certain normalisation of elderly male attention to young women, but casual domestic violence. Of course, Mathieu is hardly intended to be sympathetic — part of the ‘comedy’ is that Mathieu’s calm explanations to his fellow train passengers (the film is largely told by him in flashback) of how he’s in the right are undercut by what we see of his behaviour — and the terrorist conflagrations which periodically engulf the film (and which consume it ultimately) seem to be a sort of wilful erasure of Mathieu’s aggressive desires. Still, Conchita never comes across as much more than a surface onto which Mathieu’s confused desires are projected, though casting two actors in the role (the aloof Carole Bouquet and more sensuous Ángela Molina) does come across as something of a masterful stroke (however it was intended by Buñuel).
FILM REVIEW: Criterion Collection
Director Luis Buñuel | Writers Luis Buñuel and Jean-Claude Carrière (inspired by the novel La Femme et le pantin by Pierre Louÿs) | Cinematographer Edmond Richard | Starring Fernando Rey, Ángela Molina, Carole Bouquet | Length 99 minutes || Seen at National Film Theatre, London, Wednesday 28 February 2007 (and earlier on VHS at home, Wellington, August 2000, and most recently on DVD at a friend’s home, London, Sunday 12 February 2017)
It’s not that I don’t appreciate what Fellini is aiming for here — portrait of the artist as a narcissist with mother issues, one of his abiding themes — it’s just that there’s so much whirl and spectacle that I find it difficult to keep up with why I should care about Marcello Mastroianni’s Guido and his many women (and memories of women, and fantasies of women). I’ve apparently seen this film before but I don’t remember it at all, not that I’m holding up this response as any kind of proof of anything. It’s undoubtedly a well-made film which does all those reflexive filmic things (he plays a film director) that critics love when compiling their all-time lists, and the cinematography by Gianni Di Venanzo is fantastic. I just struggle to find what’s in it that I can connect with. To each their own.
FILM REVIEW: Criterion Collection
Director Federico Fellini | Writers Federico Fellini, Ennio Flaiano, Tullio Pinelli and Brunello Rondi | Cinematographer Gianni Di Venanzo | Starring Marcello Mastroianni, Anouk Aimée, Sandra Milo | Length 138 minutes || Seen at Rialto, Wellington, Tuesday 31 October 2000 (and most recently on DVD at a friend’s home, London, Sunday 15 January 2017)
Another one of those classics that always crops up on lists (I’ve been watching a few of them recently, not least on the Criterion Collection) but it succeeds on the basis of Victor Sjöström’s performance as the old professor close to death. He’s looking back on his life, often watching scenes from 50-60 years earlier, and seeing — as we are — what a difficult man he’s been and how he needs to open up. There’s heavy-handed use of the various women he meets (and has known) to drive the point home, which works if you accept this is very much told not just about him, but from his point of view.
Criterion Extras: There’s a commentary track by Stephen Prince, who covers many of the themes, although I am not such a huge fan of his style, though he appears on plenty of Criterion’s Bergman releases. There’s also an introduction by Bergman, which I gather is an outtake from one of the many documentaries about his life and work.
FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman | Cinematographer Gunnar Fischer | Starring Victor Sjöström, Bibi Andersson, Ingrid Thulin | Length 91 minutes || Seen at a friend’s home (DVD), London, Sunday 8 January 2017
For all that it sounds on paper like some kind of heist film, in fact this is a story centred in female friendships, primarily the one between our title character (one of those involved in the heist, which is only seen obliquely in flashback) and her friend in Portugal (Silvia Reize), to whom she turns when things start going wrong. Yet there’s also the relationship between her and the young female bank teller (Katharina Thalbach) who witnesses her crime, and whose identification of Christa is key to the prosecution’s case. It turns out Christa’s motives were solid — she just wanted to help out a kindergarten she’d started for impoverished mothers, but it had run into financial difficulties — and, as played by Tina Engel, she presents a compelling central figure. It’s only a pity that the print this DVD is transferred from is so patchy; Margarethe von Trotta’s films may not be trendy or flashy, but they are definitely in need of some preservation.
Director Margarethe von Trotta | Writers Margarethe von Trotta and Luisa Francia | Cinematographer Franz Rath | Starring Tina Engel, Silvia Reize, Katharina Thalbach | Length 89 minutes || Seen at home (DVD), London, Thursday 18 May 2017
There’s something to Anocha Suwichakornpong’s filmmaking, a sort of dreamy, elliptical oddness that has long stretches of quiet watchfulness (long takes with a fairly static camera, though often handheld so a bit shaky)… but then there are these little flares of strangeness (and I still can’t help but thinking about fellow Thai filmmaker Apichatpong Weerasethakul in this regard). This is a story of two men: Ake, from a rich family, who has mobility issues (Phakpoom Surapongsanuruk); and the other, Pun (Arkaney Cherkam), his carer, from somewhat lower down the rungs of society. There’s almost an upstairs-downstairs dynamic (we also see the family’s cook), but that’s not really dwelt upon. What unfolds is largely this slow evolution of feeling between the two, with sort of mystical asides to astronomy and an unexpected scene of childbirth at the end (even the appearance of the opening credits 15 minutes in took me by surprise). I can’t explain what it’s doing, but it’s interesting enough for me to want to watch more by the same filmmaker (her more recent film By the Time It Gets Dark had much the same effect on me).
Director/Writer Anocha Suwichakornpong | Cinematographer Ming-Kai Leung | Starring Arkaney Cherkam, Phakpoom Surapongsanuruk | Length 82 minutes || Seen at home (DVD), London, Wednesday 1 March 2017
It’s interesting that Amma Asante’s debut film takes place entirely amongst white people (that is to say, people who look more like each other than — as the director said in a Q&A at the screening I attended — she looks like them), even if they find plenty of opportunity to sling racial slurs at one another (a Turkish character comes in for some particularly nasty abuse). In a modern climate of anti-immigrant sentiment, it’s clear this stuff has been growing for a while. Asante’s focus is on the small gang of friends in Cardiff, living with very little money and desperate to get by (by any means) — a way of life marked by teen pregnancy, drug use, petty crime, the usual. These are fairly depressing characters, and so it’s interesting that Asante finds some sympathy to them at times, though any short-lived moments of decency are always quickly overwhelmed by hate. I didn’t honestly like everything here — the music in particular seems ill-judged, and rather too redolent of 80s televisual plays. However, the largely non-professional acting is strong, and it seems to capture some of the intersecting ways of being an outsider.
SPECIAL SCREENING FILM REVIEW
Director/Writer Amma Asante | Cinematographer Ian Wilson | Starring Stephanie James | Length 93 minutes || Seen at Genesis Cinema, London, Tuesday 7 March 2017
As a key text in the development of the horror film (not to mention the pseudo-documentary), I found this all a bit underwhelming really, even once you get past the early PowerPoint presentation section about the history of witchcraft. There’s some gorgeous stuff in it, and a sequence with a penitent elderly lady was clearly cribbed by Dreyer for his The Passion of Joan of Arc. But as a film it’s text-heavy and didactic while also never really getting particularly insightful about the underlying context for all of it (the patriarchal structures oppressing women in the mediæval era). Still, the director does have a coda linking these mediæval methods of control to his own times (“in 1921!” an aside says, as if the modern world could never countenance such superstition), and he essays a pretty camp tongue-flicking Satan.
Criterion Extras: Aside from the original version and its commentary, there’s a shorter 1968 re-edit narrated by William S. Burroughs with a jazz score. In another short piece, the director Benjamin Christensen introduces his film for a 1941 re-release, addressed to camera in a stentorian manner while wearing a white lab coat, in passing explaining the magic of silent over sound cinema. There are a few outtakes from the filming, more notes towards the finished project rather than actual scenes that have been excised. Finally, there’s a gallery of images from the film as well as the sources for Christensen’s own slideshow.
FILM REVIEW: Criterion Collection
Director/Writer Benjamin Christensen | Cinematographer Johan Ankerstjerne | Starring Benjamin Christensen | Length 107 minutes || Seen at a friend’s home (DVD), London, Wednesday 2 November 2016 (and earlier on VHS at home, Wellington, February 1998)