Tell Me Who I Am (2019)
Any film or documentary that centres on identical twins and their relationship is fascinating in its own right, but if that film or documentary also involves the case of total amnesia, dark secrets and completely buried past, then it becomes one of the most interesting ever filmed (at least for me). Tell Me Who I Am is based on a memoir of the same name by twins Alex and Marcus Lewis, and Joanna Hodgkin, and tells the real story of Alex Lewis, who lost all his memories when he was involved in a motorcycle accident at the age of 18. From that age onwards, Alex had to rely on his identical twin brother Marcus to tell him everything – from how to tie his shoelaces and ride his bicycle to who he was and what were the relationships inside his family. As time passes in the story, however, Alex starts to doubt that Marcus tells him everything. Tell Me Who I Am is too brutal in its portrayal of the truth and distressing because of the subject matter, but it is also a fearless exploration of our reliance on memory that is always an important element dictating our sense of identity and our relationships with others. The documentary presents a powerful and often fragile relationship between two identical brothers torn apart by a dark family secret.
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Maddy from Maddy Loves Her Classic Films and Jay from Cinema Essentials are hosting The World War II Blogathon, and I am happy to participate (check out film reviews from Day 1 here). Some of the world’s best films were about the World War II and events related to it, including Schindler’s List (1993), Life is Beautiful (1997) and The Pianist (2002). This time, I am talking about Clint Eastwood’s Japanese-language film Letters from Iwo Jima, a film which Eastwood produced after his patriotic Flags of Our Fathers (2006). Both of these films depict the Battle of Iwo Jima, in which the US army landed on the island of Iwo Jima and battled with the Japanese in 1945.
Letters from Iwo Jima (2006)
Letters from Iwo Jima does not merely portray another battle in the World War II. When US army (navy and marine corps) landed on the island of Iwo Jima (an island of immense strategic importance) on 19 February 1945 (after air bombardment prior to that), they thought the battle would last five days, but it lasted for over a month. It has been called the bloodiest fighting in the Pacific, and the Japanese, under the command of fearless General Kuribayashi (played by Ken Watanabe) demonstrated unexpected smartness (tunnels, strategy, etc.) and courage. All the odds were against the Japanese in this battle, but, looking at the fierceness of the battle, as well as the number of American casualties, one may even assume the opposite. Masterfully directed and brilliantly acted, Letters from Iwo Jima showcases compellingly the horrors of the Battle of Iwo Jima from the Japanese perspective, the desperate situation in which Japanese soldiers found themselves in, and the instances of both good and evil found on both sides of the battle. Also, coming from an American director in particular, Letters from Iwo Jima could also be said to be a very special film: a respectful one that honours another culture, tradition and point of view to the point of being completely “selfless” and “compassionate” in its purpose. In many ways, this is an anti-war film that underlines our common humanity no matter on which side of a war we find ourselves at any given time. We are all humans with an innate need for happiness, peace and understanding. Given the above, Letters from Iwo Jima is not merely a film that makes a powerful statement – the film is a powerful statement in itself. Continue reading “The World War II Blogathon: Letters from Iwo Jima (2006)”
99 Homes (2014)
This film is set in the background of the 2008 housing crisis in the US when many Americans lost their homes. Andrew Garfield (Silence (2016)) is Dennis Nash, a single father, who loses his home to the bank and has a chance to get it back if he starts working for a real estate broker (Michael Shannon (The Shape of Water (2017)) who is “responsible” for his misfortune. Directed by Ramin Bahrani, who dedicated the movie to film critic Roger Ebert, the film is a great “housing” drama elevated by the performance from Michael Shannon. 99 Homes explores interesting moral dilemmas and issues, and is so powerful that could rightly be claimed as one of the best films of the year 2014.
Continue reading ““Housing” Films: “99 Homes” & “House of Sand and Fog””
Debbie at Moon in Gemini is hosting The Greatest Film I’ve Never Seen Blogathon, which is a fabulous idea since it is an opportunity for everyone to discover or re-discover classic and “must-see” films, or even find hidden gems. I have chosen to write on Robert Bresson’s “Pickpocket” because it is considered one of the greatest of films (at least in some circles). It is a definite achievement of Robert Bresson, an acclaimed film director, and the film is ranked as one of the greatest films by the Sight & Sound magazine (the 2012 poll). Moreover, Roger Ebert, the late popular film critic, once included it in his “Great Movies” list. And, “Pickpocket” is great, just not in a conventional way. This is because Bresson is a French director who practices some form of austerity in his films, and his films do have a minimalistic quality, even though all the philosophical observations in his movies more than make up for the understated presentation or plot.
This film is Bresson’s debut as a scriptwriter for his movie, but it is also fair to say that he was in some way adapting Dostoevsky’s novel “Crime and Punishment” (1866) to make this film because “Pickpocket” more or less follows the stages of Dostoevsky’s novel and has similar characters. Like in the classic novel, Bresson is preoccupied with fear, guilt and redemption in his story as we follow Michel (Martin LaSalle), a recently released thief, who struggles to get back to his “job”. Michel is reclusive and apathetic, but he does make friends with Jeanne (Marika Green), a young woman and his mother’s neighbour, and has a friend called Jacques. Bresson conveys to the screen the intrigue of the trade which is called pick-pocketing, as well as its dangerous, claustrophobic and lonely nature. What works best in the film is the portrayal of Michel as a societal outsider who tries inwardly to come to light and good. The main character becomes quite sympathetic, maybe even more sympathetic than in “Crime Punishment”, because the crimes of Michel are less horrendous than the murders of Raskolnikov. Continue reading “The Greatest Film I’ve Never Seen Blogathon: Pickpocket (1959)”
Virginie at The Wonderful World of Cinema and Emily at The Flapper Dame are hosting The 4th Wonderful Grace Kelly Blogathon to honour Grace Kelly, the icon of beauty and elegance. She was a terrific actress, who worked most notably with Alfred Hitchcock (see “Rear Window” (1954) and “To Catch a Thief” (1955)). In “Dial M for Murder“, Kelly is Margot Wendice, the wealthy wife of an ex professional tennis player Tony Wendice, played by Ray Milland. She is to become the centre of the plot whereby the husband hires a hitman to kill the wife. Kelly’s character (that wonderful lady in red, and then in blue) comes off as a beautiful, brave and stoic woman who wants personal happiness, and would have stolen the show completely if not for the intricate, clever and psychologically-interesting plot and the cunning personality of Tony Wendice, played brilliantly by Milland.
Dial M for Murder (1954)
You know you are in for a treat when a film you are about to see is made by Alfred Hitchcock, and “Dial M for Murder” does not deviate from this rule. In the midst of it is a cleverly-constructed plot whose entangling may cause some to pause and ponder. Hitchcock is basing his movie on a screenplay by Frederick Knott and is concerned with the proving of guilt, rather than with the usual whodunit mystery. “Dial M for Murder” starts with the blackmail and the deceit by the wife of her husband, but it ends in an unexpected area. The interesting thing about this movie is that we know from the beginning who is the (attempted) murderer, and we follow every step to the conclusion, but we are still in for some surprises. Initially that is because the murder of Margot, as planned by her husband Tony, does not exactly go according to plan. Continue reading “The 4th Wonderful Grace Kelly Blogathon: Dial M for Murder (1954)”
The Babadook (2014)
I am wishing all my followers and readers a very Happy Halloween, and am presenting a scary and psychologically-interesting Australian horror film “The Babadook“. This film by Jennifer Kent takes its concept from her own short film “Monster” (2005) about a spooky presence pestering a family of two. Similarly, in “The Babadook”, a widowed mother and her son, who has behavioural problems, are trying to cope with the death of their husband/father, while their house is slowly being invaded by a terrified being from a children’s story-book. This wonderfully thought-out, acted and designed film can be read deeper than it initially appears. In “The Babadook”, what may seem to be a straightforward horror story could actually be a thought-provoking cinematic allegory of people learning to deal with and accept the trauma in their lives.
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In Fabric (2018)
Peter Strickland is known for such unusual and, in some way, brave films as “Berberian Sound Studio” (2012) and “The Duke of Burgundy” (2014). In “In Fabric”, he takes his boldness and unconventionality to a whole new level and crafts a film which is an eerie ghost story involving a dress on the one hand, and a critique of consumerism with much humour, weirdness and some shock thrown into it, on the other. Can horror and comedy, and a consumerism critique and a ghost premise be fused together successfully? Strickland thinks they can, and, probably, only he can pull off such a mix of premises without a film becoming a disaster. The story here is that a woman, Sheila, stumbles upon a gorgeous, silky red dress, without realising that it is possessed by a ghost of a woman who modelled it before. Sheila goes on a blind date wearing the dress, but also develops a strange rash after wearing it. Then, the ghostly dress ends up in the hands of a mechanic and his girlfriend, while also having evil intentions. In the meantime, in the department store that sold the dress, strange, shocking rituals take place, with sales assistants knowing the power of the dress only too well not to want to have it back. The plot may sound a bit ludicrous and not everything works there, but it is the film’s aesthetics, music and colour, its feel of the 1970s decade, recalling Italian giallo movies, and its strange humour which all work best.
Continue reading ““In Fabric” Mini-Review”
It is that time of the year again when everyone is writing about exciting spooky stuff, and to accomplish two objectives with one action, I am contributing to the “October Birthdayz” blogathon by Nuwan at No Nonsense with Nuwan Sen to celebrate the birthday of his sister. The theme is famous people who were born in October, and, to celebrate Catherine Deneuve’s 75th birthday, I am reviewing Polanski’s “Repulsion” with Deneuve in the lead role. A review of this highly influential psychological horror film, that showcases Deneuve’s talent to the full extent, will not only fit nicely into this blogathon’s theme, but can also get you early into the Halloween spirit. Thanks for hosting and inviting me, Nuwan, and the readers can also check out other entries for this blogathon here, here and here.
“Repulsion” can be considered a classic in the psychological horror genre. The plot revolves around Carole (Deneuve), a young woman from Belgium who works in a beauty parlour in London and lives in an apartment with her older sister Hélène (Yvonne Furneaux). Sweet and shy, Carole often finds herself day-dreaming, and tries to politely rebuff the advances of her obsessive suitor Colin (John Fraser). She also expresses hostility towards her sister’s married boyfriend Michael (Ian Hendry). Things take a turn for the worse when Carole’s day-dreaming leads to her mind having the life of its own and the triggers seem to be any sexual hints or attempts made at intimacy. When Hélène leaves for a vacation in Italy, Carole is unable to cope, and, feeling abandoned, slowly starts her descent into madness.
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The Third Murder (2018)
“People hardly understand members of their own family, let alone strangers” (Shigemori Akihisa in “The Third Murder”).
This film by an acclaimed Japanese director Hirokazu Kore-eda (“After the Storm” (2016), “Shoplifters” (2018)) begins with a scene of a murder in progress. A man kills his boss in cold blood and burns his body. The man – Misumi (Kōji Yakusho) – has previously been in prison for around 30 years for other two similar crimes he had committed. A legal team prepare a case, but since Misumi has confessed, there is nothing much to debate or investigate, and the sentence of death penalty looms over his head. The case of Misumi seems to be an open and shut one, or does it? When a new lawyer Tomoaki Shigemori (Masaharu Fukuyama) takes over the case, he slowly begins to realise that something does not make sense in Misumi’s confession, and the centrepiece of confusion is the motivation of the killer. It also does not help that Misumi starts to change his story of what happened with an astonishing ease and conviction. In Kore-eda’s legal drama, it is interesting to uncover both personal connections to the case and the foreign legal system’s intricacies, but the quiet beauty of the picture can still be found in the slow unveiling of the truth.
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“You don’t have to convince yourself that a mandarin orange exists, you have to forget that it does not exist.” (Haemi, when explaining the art of pantomime in “Burning”).
In Chang-dong Lee’s film “Burning”, Jongsoo (Ah-In Yoo) is a country lad who rekindles friendship and begins a romance with Haemi (Jong-seo Jeon), a girl from his childhood, only then to discover that Haemi vanishes soon after meeting the handsome and wealthy Ben (Steven Yeun). “Burning”, which received much praise at the Cannes Film Festival 2018, is the kind of a film commenting on which people would pride themselves by saying that they liked it, only for others to secretly tell themselves that they do not. Slow-moving or “burning” films with intricate psychological character studies and with unhealthy doses of inexplicability are fashionable nowadays, and, in that vein, “Burning” also would like to take its place among this elite unfathomable group of films. However, the result is a clumsy, uncompelling and excruciatingly tedious film that is as much of a mystery as any non-mystery and that has as much high tension as waiting patiently for a catch when fishing (only then, predictably, not catch anything substantial at the end of the day).
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