“When I think of the things I have seen on this ship. The stupid cruelties. The vanities. We talk about values? There’re no values. The dung we base our lives on…We are the intelligent, civilized people who carry out orders we are given. No matter what they may be. Our biggest mission in life is to avoid being fools. And we wind up being the biggest fools of all” (Dr Wilhelm Schumann in Ship ofFools).
Based on a novel by Katherine Anne Porter, Ship of Fools tells of a passenger ship sailing from Mexico and bound for Germany. On board, the people are from all walks of life and classes, from a Countess (played by Simone Signoret) who lost everything to desperate Spanish farm workers. They are also one artistic couple having a serious relationship trouble, a middle-aged Nazi sympathiser, an aging southern belle (played by Vivien Leigh), who is in search of “something”, and a troupe of Spanish dancers, among others. The film focuses on each of those in turn, taking rounds, and could be said to represent a series of “film vignettes”, rather than a straightforward plot moving to one cinematic climax. Directed by Stanley Kramer (Look Who’s Coming to Dinner (1967)), who always promoted films with important social issues, Ship of Fools is distinguished by its unusual presentation, incredible cast, and the acting of Simone Signoret and Oskar Werner.
Maddy from Maddy Loves Her Classic Films and Jay fromCinema Essentialsare 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)”→
It is a bit of a surprise that “Phantom Thread” as well as “Get Out” made this list. “Get Out” is a horror (not the Academy Awards’ favourite genre), which was released a bit less than one year ago. Even though it is good to see the Academy nominating such a dark-horse, the amazement is still there. For all its unforgettably tense psychological atmosphere, “Get Out” is still a flawed film (see my review here), and one may wonder whether, as with “Moonlight” the year before, there were not some “race politics” involved in this decision as well. On the other hand, such a great film as “The Florida Project” is nowhere to be seen here, which is astounding. I guess the Academy thought that by nominating “Call Me By Your Name”, they would be done with it when it comes to paying their dues and nominating aesthetically-pleasing, independent-spirited films. The limit is ten nominees per category, and, surely, “The Florida Project” deserves its tenth place on this list.
Featuring Leonardo DiCaprio, Cate Blanchett, Martin Scorsese, Christian Bale and Tom Hanks – to name just a few; Spielberg is a new Susan Lacy directed documentary about the highly respected director Steven Spielberg’s career… I’ll watch to learn more about Spielberg, of course. I really also just want to listen to a bunch of my favourite […]
In “Personal Shopper”, a film of Olivier Assayas (“Paris, je t’aime” (2006)), Kristen Stewart plays a young woman Maureen who mourns the loss of her twin brother Lewis. Maureen visits the house where Lewis lived with his girlfriend, and believes that his ghost will try to communicate with her. In her daily job, Maureen is a personal shopper to a rich and famous star in Paris, a job she dislikes and only too keen to break the “rules” of her employment now and then. Soon her personal identity issues mix with her paranormal beliefs, producing restlessness and paranoia. Although admirable in its fresh approach, the film is also unfocused and dull. It tries at least three different points of focus: a ghost story; a murder mystery; and a high-society critique, all of which are underdeveloped and none of which work to a satisfactory conclusion.
“One drink’s too many, and a hundred’s not enough.”
“The Lost Weekend” is a 1945 film directed by Billy Wilder, and telling a story of a failed writer Don Birnam (Ray Milland) who struggles to combat his chronic alcohol addiction in the course of a weekend. The winner of an Academy Award in the categories of Best Picture, Best Director, Best Actor and Best Adapted Screenplay, “The Lost Weekend” is now deemed so significant both culturally and historically, it has been recently added in that category to the National Film Registry of the Library of Congress. Indeed, more than 70 years after its initial release, the movie still mesmerises the audience with its performances, and paints probably the most heartfelt and realistic picture of someone combating their alcohol addiction. Continue reading ““The Lost Weekend” Review”→
I won’t title this blog “The Academy Awards 2016: Controversial, Emotional & Predictable”, although I want too. What have we had so far? Protests regarding the representation of black people and women nominated, and nominated actors who you can so safely bet on winning – the chances that they won’t is like forgetting your own name. Diversity & Competition or rather a lack thereof. Here, I will only comment on the Best Picture, Best Animated Film, and Best Actor and Actress categories.
The Best Picture Academy Award went toSpotlight(other nominees being The Martian, The Revenant, Room, Bridge of Spies, The Big Short, Brooklyn, and Mad Max: Fury Road). Surprising? Hardly. Room may be too traumatic or misunderstood for the Academy to applaud, The Martian too science-fiction to take seriously, and The Revenant just not good enough to win.
“He would crawl until his body could support a crutch. If he only made three miles a day, so be it. Better to have those three miles behind him than ahead.” (Michael Punke, “The Revenant: A Novel of Revenge”)
In Alejandro González Iñárritu’s latest film “The Revenant”, Leonardo DiCaprio plays Hugh Glass, an American frontiersman involved in an expedition to American wilderness in the year 1823. After a bear attack leaves Glass seriously injured, one of his companions decides to betray him, and among other horrific actions, leaves him behind. What follows is Glass’s unforgettable journey back to the outpost, to find the man who not only left him for dead, but also robbed him of the one dearest to him.
‘When I was your age they would say we can become cops, or criminals. Today, what I’m saying to you is this: when you’re facing a loaded gun, what’s the difference?’ (Frank Costello)
Martin Scorsese’s crime thriller ‘The Departed’, winner of an Academy Award for Best Picture in 2006, is considered to be the director’s finest take on the mob theme since ‘Goodfellas’ (1990) (intermittently he also directed ‘Casino’ (1995) and ‘Gangs of New York’ (2002)). With many great actors involved in this movie, and with such a meticulously constructed script, this is no wonder. ‘The Departed’ is set in the south of Boston during the time when the police wages their war against the Irish-American criminal syndicate. The film starts off with young Colin Sullivan (Matt Damon) befriending the untouchable lord of crime, Frank Costello (Jack Nicholson). Years later, there emerge two cops: one – Colin Sullivan, only too ready to infiltrate the state police as an informer for Frank Costello, and another Billy Costigan (Leonardo DiCaprio), a guy who grew up in a criminal environment, who becomes a gang member working for Costello, while at the same time working as a undercover cop. When both the state police and the mob begin to suspect that there is an informer within their circle working for the other side, both Sullivan and Costigan must race against time to uncover the identity of another to save their lives.