Friday, August 30, 2013
Ace in the Hole (directed by Billy Wilder) and Sweet Smell of Success (directed by Alexander Mackendrick) were brought to 1950’s screens by A-list talent, many of whom were hounded or haunted by the blacklist. These films’ vile protagonists wield quips and cunning as acid-tipped daggers in wars of influence. We are taken to locales of American legend: the Wild West and The Big Apple, where individuals became heroes and communities arose from dust and squalor. Yet New Mexico’s and New York’s caves and canyons are where these characters of ambition come to dupe or be duped, where care becomes a carnival. Born from the land of opportunity, these pictures drip with cynicism and self-disgust, enduring as two of the nastiest Hollywood creations made from and against the media machine.
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P.S. Make it a triple feature with Wilder's Sunset Boulevard as a starter!
P.P.S. I also wrote a post about my five favorite classic cinematographers (including Success' James Wong Howe) at YAM-Mag, and posted some favorite TV and movie soundtrack tracks in this Youtube playlist.
Thursday, May 9, 2013
Three gorgeous and compelling “genre” TV shows exhibit extraordinary elements irreparably transforming ordinary worlds: Canal+’s enigmatic zombie drama Les Revenants (titled The Returned for the UK), Channel 4’s conspiracy thriller Utopia, and AXN/Gaumont/NBC’s investigative procedure-serial Hannibal. Their simmering, striking style melts into substantial experiences unlike most offerings on any screen.
|Top stag and later mushroom images from Cleolinda's recaps.|
Humanity is haunted and hunted. Scattered through these shows are the dream-stag and murder displays of Hannibal, Mr. Rabbit and the illustrations in Utopia, and the titular animal and human Revenants. Powerful images and personalities are presented as more than human, breaking past the civilized everyday into realms aligned with the primitive or supernatural. Living and dead, flora and fauna, blend in inhuman assemblage. Lines between opposing forces split and fuse in a kaleidoscopic array of allegiance and morality. Particular shots further suggest a further melding of diabolical and divine.
What is surprising about these shows is how they extend this dissolving duality to the basic physical and filial elements of existence. Inserts of gentle, pastoral nature are later revealed as omens of murder and decay. From Utopia’s pharma-food conspiracy to the cannibalistic killers of Hannibal and Les Revenants (and stirrings of feral behavior in the zombies of the latter), the vital and personal act of eating is tainted. Kinship bonds arise through cannibalism and trauma in Hannibal, mourning and survival in Les Revenants, and alternating paranoia and vulnerability in Utopia. Each program centers on survival through formation and fracture of individual and group identity. Yet which of these bonds are fabrications of manipulation and pressure? What bonds are genuine? Les Revenants, Utopia, and Hannibal bring to our screens three narratives that explore the hopes and fears of trust: in others, in oneself, and in one’s reality.
Thursday, January 10, 2013
"), directed by and starring Rémy Belvaux, André Bonzel, and Benoît Poelvoorde; unfolds through the footage of a documentary production crew who have selected a hitman as their subject. A reason for filming gruesome murders turns into an excuse for criminal collaboration.
Chronicle, directed by Josh Trank, tells its teens-with-superpowers tale through constant obsessive or automated video documentation. The joy and troubles of newfound abilities takes an Akira-lite path towards destruction.
These are ultimately stories of villains, either sympathetic or charismatic. The camera becomes another channel of power. Recording and performing for an audience amplifies the protagonists’ control (or lack of control) over life and death. Both main characters try to turn themselves into legends, to reach beyond their lower-middle-class situation and become an “apex predator.”
Neither film is subtle, and a few jumps and plot holes are more obvious because of the films’ overall tight control. Females are simply plot devices compared to the male characters. Yet the format inherently acknowledges perspective limitations. Man Bites Dog manages to be both brutal and incisive in its shocks and whiplash morbid humor. Chronicle is notable for how it expands the “found footage” subgenre by transforming the camera into eyes, an extension of self, a witness, even a spirit medium.
“Found footage” movies ask the audience to accept that not only is the fiction on screen “reality” for the characters, but that this fiction has the appearance of fact. One could say that extreme aspects reassure the viewer that what is happening on screen is not real; of course no one dies like that, of course there are no superhuman powers from outer space. However, the movies still ask, what if it is real? What would you do?
The two films discussed here explicitly show the materials “used” for shooting — low-budget film for Man Bites Dog, digital video for Chronicle— to ground their concept. More than similar films, they activate the possibilities of their format. Through most of Chronicle, many viewers hope for the better welfare and possible redemption of the character whose often hand-held perspective guides much of the movie. Man Bites Dog implicates and horrifies both viewer and filmmaker for their fascination with the sensational. At which point will a viewer decide to tag along for the ride? At which point would a viewer step back? Either way, they’re still watching.
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For further reading, check this critique of the socioeconomic dynamics in Chronicle, as well as the AV Club’s New Cult Canon post on Man Bites Dog.
Sunday, December 9, 2012
Solitary scenes of longing are standard fare in music videos, but the concentration of those scenes in this video reminded me of aspects of the work of director Josef von Sternberg.
Females in von Sternberg's films often slink and recline, and even in the relatively more realist silent The Docks of New York, key moments feature the heroine lying in bed. "I Love You" has been discussed as a typical song about obsession, another trait common to characters in von Sternberg's films. The women of 2NE1 and von Sternberg's heroines are presented lingering within their emotions, unsettled even in their dream worlds, restless but held back until the right moment for the direct gaze.
Tuesday, September 18, 2012
Characters in Park Chan-wook’s I’m a Cyborg, but That’s OK and Kim Ki-young’s The Housemaid (Hanyo) are confined to stylized spaces that illustrate states of mind. The comedic color film I’m a Cyborg, but That’s OK has possibilities expand through the characters’ breaks with reality, while those in the melodramatic black-and-white The Housemaid are further trapped by their extreme emotions. Both films have one moment where the reality of the situation intrudes, a critique of over-sentimentalizing mental illness (Cyborg) or acting as a voyeur (Housemaid). Cyborg or Housemaid, the lead female characters’ minds are especially powerful and, especially for the male characters in the films, impenetrable.
Sunday, April 29, 2012
Investigations into economic exploitation are adapted for semi-fictional drama in Lu Chuan’s Kekexili (Mountain Patrol) and Matteo Garrone’s Gommora.