I. The Servant (1963)
Directed by Joseph Losey, The Servant is considered by some to be one of the finest British films. It tells of Tony (James Fox), a flamboyant member of the upper class, who has just moved in to his central London residence after a period spent in Africa. He immediately hires a man-servant for himself, demure, respectful and knowledgeable Hugo Barrett (Dirk Bogarde). Hugo not only knows how to cook and take care of a house, but he is also an expert interior decorator and has been a gentleman’s servant for many notable Lordships. This tale of a friction between the upstairs and the downstairs reaches the zenith of tension when Hugo introduces “his sister” (Sarah Miles) to the household and when Tony’s own fiancée (Susan Stewart) decides to make the house her own dominion. The Servant works delightfully as a satire on class differences and servitude, showing a thin line that often separates usefulness from a nuisance, and kindness from submissiveness. This tale of hidden corruption has a frightening change of dynamics.
Continue reading “Recently Watched: Films: The Servant (1963), A Kiss Before Dying (1956) & Isle of the Dead (1945)”
I. The Red Shoes (1948)
The Red Shoes is about the rise to stardom of a dancer Victoria Page (Moira Shearer) who falls under the strict control of one charismatic, but elusive and mysterious company director Boris Lermontov (Anton Walbrook). Page becomes truly famous after appearing in Lermontov’s ballet “The Red Shoes”, but soon finds herself torn between her new love – composer of “The Red Shoes” – Julian Craster (Marius Goring) and her professional life. The film is brilliant in terms of cinematography, camera-movements and visual impact. The beautifully-designed production and the ballet, that incorporates a story of one girl whose red shoes take control over her life, are memorable. The film also makes certain observations on the creative process of a theatre/ballet production, and on art and artistic input. It asks – what price a person will be willing to pay for the sake of artistic glory and full professional realisation in theatre/ballet? The story of one girl whose red shoes control her (a Hans Christian Andersen fairy-tale) mirrors the story of Victoria Page who, ultimately, has to choose between her romantic interest and her blind devotion to the demands of the man behind the “The Red Shoes” genius – Boris Lermontov. Continue reading “Recently Watched: Films: The Red Shoes (1948), West Side Story (1961) & Black Narcissus (1947)”
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)”