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)

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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 190: Kumonosu-jo (Throne of Blood, 1957)

The most striking aspect of this (very loose) adaptation of Shakespeare is the mist that swirls about the characters, especially at the start as they ride about, lost, in “Cobweb Forest”, and again at the end with its strange uncanny trees. The costume design, too, is richly detailed, as Kurosawa transposes the story to feudal Japan, with a number of competing warlords seeking to usurp one another’s power and thus Shakespeare’s story doesn’t seem out of place at all, even within Kurosawa’s own oeuvre. Toshiro Mifune has never been more expressive in his facial acting — perhaps too much so at times — and the persistent sense of imminent danger, as well as those atmospheric effects, remain the finest achievements of this adaptation.


FILM REVIEW: Criterion Collection
Director Akira Kurosawa | Writers Shinobu Hashimoto, Ryuzo Kikushima, Kurosawa and Hideo Oguni (based on the play Macbeth by William Shakespeare) | Cinematographer Asakazu Nakai | Starring Toshiro Mifune, Isuzu Yamada, Takashi Shimura | Length 110 minutes || Seen at a friend’s home (DVD), London, Sunday 7 January 2018 (and years earlier on TV)

Criterion Sunday 158: The Importance of Being Earnest (1952)

There’s a certain strain in English filmmaking — and I think it’s the best kind — that is very much upfront about the theatricality of their sources. This one starts with a proscenium framing, and never lets up reminding us about quite how staged it all is, in the manner of the best farces. Wilde’s lines are given weight — enunciated with an archness that seems to be playing to the back of a very large room — even if not always fully respected (or so I gather from the gasps of my wife at bits having been needlessly cut and rephrased), but it’s not really until the entrance of Edith Evans’ Lady Bracknell that the film starts to really work. The male leads (Redgrave and Denison), after all, seem far too old, even for the staid era the film is trying to portray. Still, those line readings are for the most part marvellous, and the director has small flourishes (a match-cut to a gardenia near the beginning) that betray some thought about staging.


FILM REVIEW: Criterion Collection
Director/Writer Anthony Asquith (based on the play by Oscar Wilde) | Cinematographer Desmond Dickinson | Starring Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood | Length 95 minutes || Seen at home (DVD), London, Thursday 7 September 2017

Criterion Sunday 147: Huayang Nianhua (In the Mood for Love, 2000)

There’s a lot of stuff you can latch onto in this film, but yet it feels so difficult to pin down or talk about because it is so fraught. It’s about people being evasive, who don’t want to be seen to be doing the wrong thing and who, at a certain level, live their lives within the frame the narrative creates for them and the camera allows them — I’m not sure if they can exist beyond these 90-something minutes and I’m not sure if I want them to. Anyway I’m being a bit vague because I can’t really pin down how I feel but when I first saw this 16 years ago I wasn’t married, and who knows what it’ll be like in another 16, but I’m fairly sure I’ll still love it, and maybe I’ll even have a deeper sense of it. In any case, Wong is clearly infatuated with Godard but luckily that doesn’t determine the course of the film: this is very much its own thing. Doomed romance, that yearning soundtrack, Maggie Cheung’s high-necked cheongsam dresses, the rain, the endless food being dished up, the smoke, the empty corridors. All of it.

Criterion Extras: There’s a short film called Huayang de Nianhua made up of archival clips, beguiling images of old (and to me, unknown) Chinese actresses, like a hint at what Wong was thinking about while making his feature.


FILM REVIEW: Criterion Collection
Director/Writer Wong Kar-wai | Cinematographers Christopher Doyle and Mark Lee Ping-Bin | Starring Maggie Cheung, Tony Leung | Length 98 minutes || Seen at Embassy, Wellington, Tuesday 24 July 2001 (and most recently on DVD at a friend’s home, London, Sunday 5 March 2017)

Criterion Sunday 146: Letyat zhuravli (The Cranes Are Flying, 1957)

It’s worrying to recall that I’ve put off seeing this film for so long (a couple of decades since I studied film and first learned about it) because I just thought it looked a bit dull and earnest, in a typically propagandistic Soviet sort of way. Anyone who’s seen it will know this is totally the wrong idea to take of such a glorious work of almost pure cinema. Indeed, it far more presages the French New Wave in its lyrical flights of fancy, its crisp editing and remarkable monochrome cinematography. It’s a love story set against the backdrop of World War II — familiar enough — but it fights shy of any too obvious symbolism, and though you can somewhat predict how things will go, it also confounds some of those expectations. It really is a masterpiece.

Criterion Extras: Simply nothing, except an essay in the booklet. I’ve been critical of these bare-bones releases in the past (the sort of thing one imagines they started the Eclipse imprint to do), but it’s such a startling and beautiful film it almost needs nothing aside from a clean transfer of the print — which it has.


FILM REVIEW: Criterion Collection
Director Mikhail Kalatozov | Writer Viktor Rozov (based on his play) | Cinematographer Sergey Urusevsky | Starring Tatiana Samoilova, Aleksey Batalov | Length 97 minutes || Seen at a friend’s home (DVD), London, Sunday 26 February 2017

Criterion Sunday 141: Les Enfants du paradis (aka Children of Paradise, 1945)

It’s a grand achievement; any review you look at will tell you that. Made when it was, at the scale it was made, it shouldn’t have been possible, but yet it’s a big, bold, crowded film teeming with life. Of course, it’s still a grand handsome well-mounted epic that trades on all those classic (and classical) qualities of Cinema Art: a woman whose amorous conquests, or those attempts of her suitors, seem to allegorise a political situation; a witty script of over-talkative thespian types exploring the power of art; big camera moves; and mass crowd scenes for spectacle. I admire it even if I (philistine that I may be) never quite love it, but admiration goes a long way so I expect I’ll watch it again some day and admit it’s a masterpiece.


FILM REVIEW: Criterion Collection
Director Marcel Carné | Writer Jacques Prévert | Cinematographers Marc Fossard and Roger Hubert | Starring Arletty, Jean-Louis Barrault, Pierre Brasseur, Marcel Herrand, María Casares | Length 190 minutes || Seen at Paramount, Wellington, Thursday 25 June 1998 (and most recently on DVD at a friend’s home, London, Sunday 29 January 2017)

Criterion Sunday 138: Rashomon (1950)

Though it may be one of those films that’s always on a best-of list somewhere, and therefore has the sense of being a boring dusty old classic, thankfully it’s for many good reasons and none of them involve being bored. Whatever else, it must be one of the most influential movies ever, not least for its audacious structure, moving back and forward in time and presenting overlapping testimonies on a rape/murder, each of which conflict with the others. It’s a film about the power and responsibility of storytelling, and of the infinite variety of interpretation, made by a filmmaker who — more than most others — has utter mastery over narrative exposition in filmic form. Kurosawa really is peerless in this regard; every cut and every scene moves the narrative forward in some way, or develops a theme of the film. The acting is iconic (suitably so) and much has been written about the sun-dappled cinematography. But for all the exegeses and critical plaudits, it stands up as a film which still entertains and educates.

Criterion Extras: Chief among the extras is a documentary called A Testimony as an Image (2012). This is, essentially, a making-of extra, albeit with the benefit of over a half-century of hindsight. The few remaining living crew members who worked on Kurosawa’s film come together to discuss their memories of its creation, so we get plenty about how the script came together (from one of the assistant directors, and a script supervisor), then about the set construction (from one of the lighting people), about that notable cinematography and the challenges of shooting in a dark forest, and about the stresses Kurosawa was under to get the release finished despite setbacks include a studio fire. It’s based around these reminiscences, with a few archival shots and some explanatory text, but these elderly men (and one woman) retain vivid memories and their recollections are worth listening to.

Also on the disc are around 15 minutes of excerpts from a documentary about cinematographer Kazuo Miyagawa, and a short address to camera by Robert Altman about how all the influences he stole from Kurosawa and from this film in particular. There’s also a halting radio interview with Takashi Shimura from around 1960, which is interesting if not especially enlightening. Donald Richie’s commentary track helps to pull out a lot of the themes, and engages the viewer with an awareness of all that Kurosawa and his team achieve in the film, making it even better and more interesting (I rewatched it with the commentary immediately after the film, and it didn’t get boring at all).


FILM REVIEW: Criterion Collection
Director Akira Kurosawa | Writers Akira Kurosawa and Shinobu Hashimoto (based on short stories “Rashomon” and “Yabu no Naka” [In a Grove] by Ryunosuke Akutagawa) | Cinematographer Kazuo Miyagawa | Starring Toshiro Mifune, Machiko Kyo, Masayuki Mori, Takashi Shimura | Length 88 minutes || Seen at Paramount, Wellington, Wednesday 14 April 1999 (as well as earlier on VHS at home, Wellington, November 1997, and most recently on DVD at a friend’s home, London, Sunday 1 January 2017)

Their Finest (2016)

I hardly expected to like this. It looks like the kind of unadventurous, softly patriotic nonsense that leads to dull dirges like that Vera Brittain adaptation with Alicia Vikander in it whose title I’ve already forgotten (it’s Testament of Youth now that I look it up), or thin jaunts like that one with Bel Powley as Princess Margaret and a bunch of other less enjoyable people that I sort of half-remember the title of (A Royal Night Out, it turns out). Well anyway, I might actually remember the title of Their Finest because I generally found it to be superior, and though it’s hardly a film for the ages, it does have a spirited Gemma Arterton playing Catrin, a Welsh screenwriter, with a scene-stealing Bill Nighy as, um… Bill Nighy, I guess (he plays an actor). A love story is present (not with Nighy, I should point out), but it feels to me that this film is about more than the romance, even if there is a certain romanticism to the idea of wartime England. I was manipulated duly by the film, overlong as it was (and that despite an actual line in the film about movies ideally being an hour and a half long!), and I feel fine about it, for it was all very jolly.


NEW RELEASE FILM REVIEW
Director Lone Scherfig | Writer Gaby Chiappe (based on the novel Their Finest Hour and a Half by Lissa Evans) | Cinematographer Sebastian Blenkov | Starring Gemma Arterton, Bill Nighy, Sam Claflin | Length 117 minutes || Seen at Curzon Victoria, London, Sunday 7 May 2017