Criterion Sunday 210: Nattvardsgästerna (Winter Light, 1963)

The second of Bergman’s loosely-defined faith trilogy, I do much prefer Winter Light to Through a Glass Darkly, though obviously they share a number of threads — the idea of God as a spider, a questioning attitude to the divine presence, many of the same actors and Sven Nykvist’s extraordinary camera. This film has a lugubrious pace, but also, at times, touches of what seem like humour (much the way I find humour in Bresson too: utterly po-faced, but yet somehow not without mischief). Its central character, a priest (Gunnar Björnstrand), is unable to reach God, feels himself a failure, and watches as his congregation dwindles. The film’s title in Swedish is “The Communicants” and there’s a sense in which each character in the film is trying to somehow commune with God. If the previous film posits Love as the connecting force, this seems far more tenuous here, though perhaps there’s something there, like an empathy which Björnstrand’s character so abjectly fails to achieve. One of Bergman’s better works, I think.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman | Cinematographer Sven Nykvist | Starring Gunnar Björnstrand, Ingrid Thulin, Max von Sydow, Gunnel Lindblom | Length 81 minutes || Seen at a friend’s home (DVD), London, Thursday 5 April 2018

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Criterion Sunday 209: Såsom i en spegel (Through a Glass Darkly, 1961)

I’m willing to concede that Bergman was a great filmmaker, and I have no doubt that if I came to this with the willingness to engage with it that Bergman comes to his filmmaking, then I’d probably connect with it more. It looks beautiful, to be sure, with lots of full-face close-ups, and that windswept Fårö scenery. It’s intense in its psychodrama, dealing as it does (and as is not unusual for the director) with faith, the connection with God, so tenuous and so alluring. The woman has mental health issues from which she’s recovering, and this much feels a little bit rote: beautiful women suffering for the love of God is something of a worn trope. But, as I say, were I to revisit this again, perhaps I would connect with it better, or perhaps if I came from a certain type of family, I’d appreciate the dynamics more.


FILM REVIEW: Criterion Collection
Director/Writer Ingmar Bergman | Cinematographer Sven Nykvist | Starring Harriet Andersson, Gunnar Björnstrand, Max von Sydow, Lars Passgård | Length 91 minutes || Seen at a friend’s home (DVD), London, Sunday 1 April 2018

Criterion Sunday 207: Erogotoshitachi Yori Jinruigaku Nyumon (The Pornographers, 1966)

This Japanese film about a small-time filth merchant doesn’t actually feature any of what the title suggests (probably for the best) but is instead a sort of odd, madcap series of incidents that hangs together really strangely — although I admit I was a little drowsy when I watched it, which hardly helped me keep it all straight, though I don’t really think it’s interested in straightforward narrative storytelling. It has enough oddity to make it more of a satire, and it probably helps if you know the society to pick up on what’s being skewered.

Criterion Extras: Nothing but a trailer.


FILM REVIEW: Criterion Collection
Director Shohei Imamura | Writers Imamura and Koji Numata | Cinematographer Shinsaku Himeda | Starring Shoichi Ozawa | Length 128 minutes || Seen at a friend’s home (DVD), London, Sunday 8 April 2018

Criterion Sunday 206: Lola (1981)

I’d seen this before when I was younger, but perhaps I was an idiot, because I remember almost nothing about this film, and yet it is so very striking. It feels like finally, after years of flirting, Fassbinder completely nails the Sirkian aesthetic, in all its garish heady blend of colours and framing and little satirical nudges about Germany society in the 1970s. It’s a story of corrupt small town politicians and developers, and of course it’s also about sex and desire too. It’s a venal world, and apparently little is going to change that, but Armin Mueller-Stahl’s bureaucrat tries his best all the same. Every successive shot is a masterclass in lighting, all saturated colours and a strange blue highlight used for Mueller-Stahl’s eyes whenever he’s in his office. It’s a gorgeous film about — what else — but moral turpitude and the baseness of the human spirit.


FILM REVIEW: Criterion Collection
Director Rainer Werner Fassbinder | Writers Fassbinder, Pea Fröhlich and Peter Märthesheimer | Cinematographer Xaver Schwarzenberger | Starring Barbara Sukowa, Armin Mueller-Stahl, Mario Adorf | Length 113 minutes || Seen at a friend’s home (DVD), London, Sunday 1 April 2018 (and before that on VHS in the university library in Wellington, March 2000)

Criterion Sunday 205: Die Sehnsucht der Veronika Voss (Veronika Voss, 1982)

One of Fassbinder’s final films (indeed, the last to be released in his lifetime), this is a dreamlike reverie of soft black-and-white, specifically an hommage to a presumed golden era of Hollywood (and Nazi-era) filmmaking, flashbacks to which are all starry-eyed lights and slinky fashion. The star of these films is the title character (Rosel Zech), who a decade after World War II is struggling to get work and struggling to keep her fragile sense of identity. She meets a sports reporter (Hilmar Thate) who doesn’t know who she is, and strikes up an affair, during which he discovers she’s being drugged by a rapacious doctor (Annemarie Düringer), and resolves to try and free her. These genre elements though are largely interwoven into a story that’s about the dangerous addiction not just to morphine but to fame itself, with a subtle through line of satire that is difficult to laugh at given the suffocating atmosphere of much of the film. It’s a more admirable piece than one I genuinely love, but thus is often the way with Fassbinder.


FILM REVIEW: Criterion Collection
Director Rainer Werner Fassbinder | Writers Fassbinder, Pea Fröhlich and Peter Märthesheimer | Cinematographer Xaver Schwarzenberger | Starring Rosel Zech, Hilmar Thate, Cornelia Froboess, Annemarie Düringer | Length 104 minutes || Seen at a friend’s home (DVD), London, Sunday 25 March 2018 (and before that on VHS at the university library in Wellington, April 2000)

Criterion Sunday 204: Die Ehe der Maria Braun (The Marriage of Maria Braun, 1978)

She’s an attractive woman, Hanna Schygulla is (as the title character), and that’s only one of the things she uses to get ahead in the post-World War II mess of West Germany. Maria’s dogged pursuit of her goals, flirting with other men before returning to her pre-War husband (who returns unexpectedly even after she’d given up on him), makes her a potent symbol of Germany in the period, and this film thus functions as something of an allegory. Certainly those closing scenes, soundtracked by the insistent voice of a football commentator narrating a successful German game, drives that home. It may not be Fassbinder’s most flashy film, not the one perhaps with the greatest cult credentials, but it’s a wonderfully resonant piece, I think, underpinned by a great central performance by Schygulla.


FILM REVIEW: Criterion Collection
Director Rainer Werner Fassbinder | Writers Peter Märthesheimer and Pea Fröhlich | Cinematographer Michael Ballhaus | Starring Hanna Schygulla, Klaus Löwitsch, Ivan Desny | Length 115 minutes || Seen at a friend’s home (DVD), London, Sunday 18 March 2018 (and before that on VHS in Wellington, November 1997, and at university in Wellington, March 2000)

Criterion Sunday 202: Stazione termini (Terminal Station aka Indiscretion of an American Wife, 1953)

As a Criterion release, I’m somewhat underwhelmed by this film, even watching De Sica’s longer, original cut (as Terminal Station rather than the shorter version Indiscretion of an American Wife, recut by producer David O. Selznick). It takes the romantic setting of a train station as the locus for its story of two lovers pulled apart then together then apart, a little dance of passion that should be more… well, more like Brief Encounter I suppose. There’s a strange inertness to both Montgomery Clift’s Italian/American Giovanni and Jennifer Jones as the adulterous wife Mary, despite the passionate bond they seem to share. Still, there are some lovely shots and it does create an atmosphere for this forbidding, steamy, loud Italian location.


FILM REVIEW: Criterion Collection
Director Vittorio De Sica | Writers Luigi Chiarini, Giorgio Prosperi and Cesare Zavattini | Cinematographer Aldo Graziati | Starring Montgomery Clift, Jennifer Jones, Richard Beymer | Length 89 minutes || Seen at a friend’s home (DVD), London, Sunday 11 March 2018

Criterion Sunday 201: Umberto D. (1952)

My sense of this neorealist classic is that as I get older so the film will get better, but it’s one of those portraits of old age as a sad time of abandonment, especially in the context of a country coming out of a divisive wartime experience. However, the skill of De Sica is in making what seems like a pretty depressing watch into something a little more observational, capturing a sort of poetry of the everyday, as Umberto trudges around Rome in search of a little money to pay his rent, or looking out for his dog Flike. His own suicidal ideation is handled with sensitivity, and those occasions when he’s pulled back from something tragic by the slender bonds of love that remain make it the more powerful as a film.


FILM REVIEW: Criterion Collection
Director Vittorio De Sica | Writer Cesare Zavattini | Cinematographer G. R. Aldo | Starring Carlo Battisti | Length 89 minutes || Seen at a friend’s home (DVD), London, Sunday 4 March 2018

Criterion Sunday 200: The Honeymoon Killers (1970)

This seems an intriguing film in many ways, because it’s taking that evergreen trope of lurid Americana — the serial killers — and stripping it of any of the glamour usually afforded them in cinema. It doesn’t make either particularly attractive and it doesn’t beautify their crimes, as the film grimly moves its story on from initial meeting to murderousness in slow stages of development, she no less instrumental than him in driving them to their end. Its black-and-white graininess and low-budget quality effectively recalls Sam Fuller’s 50s pseudo-exploitation flicks, those true-crime ripped-from-the-headlines type of films which could run as a B-movie in a grindhouse.


FILM REVIEW: Criterion Collection
Director/Writer Leonard Kastle | Cinematographer Oliver Wood | Starring Shirley Stoler, Tony Lo Bianco | Length 107 minutes || Seen at a friend’s home (DVD), London, Sunday 25 February 2018

Criterion Sunday 199: Schizopolis (1996)

I think maybe Soderbergh is onto something here, a three-part comedy satire about, well, I don’t know, adultery? The American Dream? The suburban middle-classes? It seems to touch on a lot of things with a deadpan that wouldn’t be out of place in Monty Python, or low-budget Wes Anderson at times, but mostly this is just demented throwing-ideas-at-the-screen-and-seeing-what-sticks kinda stuff. By the time it’s finished, the manic energy has calmed a bit into something a little more contemplative, about the leading lady (Betsy Brantley, Soderbergh’s ex-wife) and a feeling of ennui, perhaps, comes through. But mostly, it’s just quite exhausting.


FILM REVIEW: Criterion Collection
Director/Writer/Cinematographer Steven Soderbergh | Starring Steven Soderbergh, Betsy Brantley | Length 96 minutes || Seen at home (VHS), Wellington, June 2000 (and on DVD at a friend’s house, London, Sunday 18 February 2018)