Born in the capital of Senegal in 1943, and trained as a teacher, Safi Faye had worked with filmmaker Jean Rouch and went on to formally study ethnography (gaining her doctorate in Paris). Therefore, this perspective runs strongly through her work, which frequently blurs the line between documentary and fiction. Her ethnographic focus is not, however, on documenting some exotic Other but often on her own family and their rural background (further explored in her 1979 film Fad’jal, named for her parents’ village), reclaiming it perhaps from the hands of Rouch and the French and European colonialists who deeply affected the entire region (if not, indeed, the continent).
I do sort of understand what’s going on here in this strange, carnivalesque, alternately gleeful and bleak evocation of pre-war and wartime Germany in the 1930s and 40s. Its protagonist is a young child, Oskar (David Bennent), who has foreseen his future and decided he wants to remain in the body of a 3-year-old (well, an 11-year-old for the purposes of the actor anyway), using the drum of the title to beat out his own tune as he first reacts against the encroaching Nazification and then finds himself dragged in as well. There are all kinds of sprightly filmmaking touches, the hand-cranked sped-up film of the intro flashing back many decades, the absurdist plot and character details, and of course the ridiculous perversity of this teenager-in-a-child’s-body growing, learning, reading and falling in love. Yet I never can quite connect with him or care about his story: he’s a nasty character — and yes, of course he is, that entirely makes sense — and his story is one with parallels in the bleak hopelessness of the Nazi era, but his childish, imp-like quality is just incessant, and it becomes grating. I never much take to magic realism or carnivalesque absurdity, and there’s plenty of the latter on show here.
FILM REVIEW: Criterion Collection
Director Volker Schlöndorff; Writers Schlöndorff, Jean-Claude Carrière and Franz Seitz (based on the novel by Günter Grass); Cinematographer Igor Luther; Starring David Bennent, Mario Adorf, Angela Winkler; Length 163 minutes.
Seen at home (Blu-ray), London, Tuesday 1 January 2019.
There are elements here to the last Antoine Doinel film that feel a little cobbled together, not least the extensive use of flashback clips to the previous films. However, what is actually shot for this film — primarily scenes involving Antoine divorcing his wife Christine, and reconnecting with the lovely Marie-France Pisier as Colette (looking younger somehow than in the 1962 clips from Antoine et Colette) — all looks great, with some gloriously-lit frontally framed cinematography, and Truffaut has brought some new collaborators (including Pisier) on board as co-screenwriters. That aside, it does also try perhaps a little hard to wrap things up with Doinel’s new love interest, Sabine. It doesn’t outstay its welcome, in any case.
FILM REVIEW: Criterion Collection
Director François Truffaut; Writers Truffaut, Marie-France Pisier, Jean Aurel and Suzanne Schiffman; Cinematographer Néstor Almendros; Starring Jean-Pierre Léaud, Claude Jade, Marie-France Pisier, Dorothée; Length 94 minutes.
Seen at home (DVD), London, Saturday 30 December 2017.
So much for writing separate posts for everything; that didn’t really work out for me in the long-term. I still watch a lot of movies (more than ever) but in terms of writing I go through phases, as I’m sure many of us who try and write about films do, and right now I’ve not really felt an urge to write up my film reviews (beyond a few short sentences on Letterboxd). So here’s a round-up of stuff I saw in May. See below the cut for reviews of…
Captain America: Civil War (2016, USA)
Cold Comfort Farm (1995, UK)
Desperately Seeking Susan (1985, USA)
Down with Love (2003, USA)
Everybody Wants Some!! (2016, USA)
Evolution (2015, France/Belgium/Spain)
Feminists Insha’allah! The Story of Arab Feminism (2014, France)
A Flickering Truth (2015, New Zealand)
Green Room (2015, USA)
Hamlet liikemaailmassa (Hamlet Goes Business) (1987, Finland)
Heart of a Dog (2015, USA)
Lemonade (2016, USA)
Losing Ground (1982, USA)
Lovely Rita (2001, Austria/Germany)
Luck by Chance (2009, India)
As Mil e Uma Noites: Volume 3, O Encantado (Arabian Nights Volume 3: The Enchanted One) (2015, Portugal/France/Germany/Switzerland)
Money Monster (2016, USA)
Mon roi (aka My King) (2015, France)
My Life Without Me (2003, Canada/Spain)
Our Kind of Traitor (2016, UK)
Pasqualino Settebellezze (Seven Beauties) (1975, Italy)
Picture Bride (1994, USA)
Radio On (1979, UK/West Germany)
She’s Beautiful When She’s Angry (2014, USA)
Sisters in Law (2005, UK/Cameroon)
Star Men (2015, USA/UK/Canada)
Their Eyes Were Watching God (2005, USA)
Trouble Every Day (2001, France/Germany/Japan)
Underground (1928, UK)
L’Une chante, l’autre pas (One Sings, the Other Doesn’t) (1977, France)
Visage (Face) (2009, France/Taiwan)
Zir-e poost-e shahr (Under the Skin of the City) (2001, Iran)
I think it’s reasonable to hold the things you love when you’re a teenager to a different set of critical standards. People who got into Star Wars back when that was first out can sometimes be unreasonably dogged in defending it, even though, well, it’s not really all that good (the first one has a sort of camp enjoyability to it, I’ll admit). Life of Brian comes from that same era, and even features a short sequence that nods towards the recent popularity of that aforementioned space-set blockbuster, and needless to say it was a common fixture on the television during my formative years, at which time I found it to be pretty great — though I always liked Monty Python and the Holy Grail (1975) more myself. I haven’t seen any of the Python output in decades, though, so it was interesting to revisit this foundational text as part of my Criterion-watching project, and for all that I want to say it’s still a shining beacon of 1970s British comedy (and maybe it is; I don’t know much of the era’s competition), it has sadly not aged all that well for me. Sure it’s always worthwhile to take aim at misplaced religious zealotry — something that I’m sure we’re all aware continues to be relevant today — and Brian takes some good shots at this kind of small-minded thinking by having its not-very-Messianic figure hounded to his death. However, it’s still ultimately a group of middle-class Oxbridge graduates being sophomorically silly about the Bible; I don’t believe that’s a case for any kind of censorship, it’s just not always as funny as it thinks it is (and these lads, particuarly Terry Jones, playing women continues to grate). Still, there remain some classic comedy sequences, the best of them skewering po-faced 1970s socialist groups, as in the ‘what have they ever done for us?’ debate chaired by John Cleese’s Reg (of the People’s Front of Judaea, not to be confused with their mortal enemies the Judaean People’s Front), or an ‘action’ committee he chairs near the end. I suppose one’s reaction to this is dependent on the level of nostalgia you cling to around the Pythons, but I do honestly wonder how the kids of today find this stuff. Ultimately, it feels very much of its era.
FILM REVIEW: Criterion Collection
Director Terry Jones; Writers Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Jones and Michael Palin; Cinematographer Peter Biziou; Starring Graham Chapman, John Cleese, Michael Palin, Eric Idle, Terry Jones, Terry Gilliam; Length 93 minutes.
Seen at a friend’s home (DVD), London, Sunday 15 November 2015 (and many times at home on VHS, Wellington, in my youth).