Departures is the winner of the 2009 Academy Award in the category of the Best Foreign Language Picture. Loosely based on a memoir by Shinmon Aoki titled Coffinman: The Journal of a Buddhist Mortician, it tells the story of Daigo Kobayashi (Masahiro Motoki), an ex-cellist who comes to his home town and finds a very undesirable employment as a nōkanshi, a traditional ritual mortician in Japan. The profession attracts strong societal criticism and prejudice, and soon Kobayashi has to justify his choice not only to his wife and those around him, but also to himself, while finding the courage to finally face the most hated man in his life – his own father. Departures is a wonderful film full of humour and touching moments. This film about one man’s journey of self-discovery and finding forgiveness is also an admirable attempt to challenge and to help alleviate the nonsensical and unfair discrimination faced by people who work in this very difficult and challenging profession in Japan.
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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)”
Directed by Todd Phillips (The Hangover (2011)), Joker is a latest, much-hyped movie starring Joaquin Phoenix (The Master (2012)) in the titular role of Arthur Fleck or Joker, a stand-up comedian fallen on hard times, who resorts to violence in Gotham City to avenge wrongs allegedly committed against him. Being supported by no other than Robert De Niro (a role reversal from The King of Comedy (1983)), Joaquin Phoenix gives the performance in Joker than can only be described as manically jaw-dropping in its brilliance. The character insight and portrayal are also bold, vivid, without holding anything back, as the film tries to explore the origins of Arthur’s homicidal tendencies through his early history and its revelations. However, unfortunately, if we then shift our attention to anything that is not Phoenix or the character study, we can see a number of problems in the film, including the inability to suspend disbelief regarding major plot developments, the sheer predictability of the plot, and the imbalance in the spotlight given to the minor characters vis-a-vis the main one. Joker is a kind of a film that is made up solely out of one character study and cannot show anything for itself apart from its character study and the brilliant performance. If Joaquin Phoenix is not there, there is no film (thankfully, Phoenix is virtually in every shot). Why should that be a problem? Building a film around a character study is one thing, but having a “film” that is nothing but a very “self-important” character study is something completely different (because, in this case, the film seems more like a shameful star-vehicle). There is no Joker, without the Joker, it is true, but when there is nothing but Joker and everything else (not much) in the film is either very awkward, very predictable, very questionable or very puzzling, then there is simply no great film. Continue reading ““Joker” Review”
25th Hour (2002)
Today (11th September) marks 18 years since the 9/11 terror attacks in New York, USA, and I thought I would review a movie that incorporates the post-9/11 atmosphere – Spike Lee’s film 25th Hour – as a tribute so that we never forget what happened and what it meant. Spike Lee (Do The Right Thing (1989), BlacKkKlansman (2018)) based his film on a book by David Benioff that tells of Montgomery “Monty” Brogan (Edward Norton), a man with a criminal history, who has just one day to enjoy his freedom before he goes to jail for seven years for drug-related offences. We follow Monty on this day, as he reflects on his past and the mistakes he had made in his life. With the beautiful score by Terence Blanchard, 25th Hour is a film that showcases the post-9/11 grief and anxiety to the fullest, while also demonstrating the extent people are pushed to lead a better life. Copying with grief and coming to terms with tragedy and one’s life mistakes are just some of the issues explored. 25th Hour may be too long, not entirely cohesive and thin plot-wise, but, with its vivid images, it somehow seems to speak directly to one’s heart and soul, being a film about hope, guilt and attempts at redemption, making it somehow very significant. Continue reading ““25th Hour” Review”
Ari Aster takes horror to a completely new level in his latest film Midsommar. Inspired by The Wicker Man and horror folklore, this film tells of Dani (Florence Pugh) who reluctantly decided to accept an invitation and go with her boyfriend Christian (Jack Reynor) and his friends to a festival that celebrates a midsummer in Hårga, Sweden (originally, the Midsummer Festival was a pagan holiday to commemorate the arrival of summer). On location, we, through the unsuspecting group of friends, slowly become immersed in the odd ways of life in this rural village in Sweden, slowly discovering its strange residents and their disturbing rituals. Welcoming and friendly villagers are only too happy to show their visitors around, as well as introduce them to their traditional midsummer celebration, but will our group of friends, as well as we, the audience, stomach what the villagers prepared for them and presented on their silver plate? In this gripping, “hallucinatory” film, we soon discover that, for the emotionally-vulnerable Dani, the stage has already been set for a showdown of her life. Continue reading ““Midsommar” Review”
The Nightingale is the latest film from Jennifer Kent, director of The Babadook (2014). In this film, the location is Tasmania and the year is 1825. A young Irish convict woman seeks revenge for a terrible act of violence once inflicted upon her family. The story sounds interesting and the film seems to gorgeously recreate the past setting. In “brutality” on display, The Nightingale reminds me of a very-hard-to-watch film Brimstone (2017) with Guy Pearce and Dakota Fanning, meaning that this film will also not be for everyone.
Museo (Museum) (2018)
This heist movie is by Mexican director Alonso Ruizpalacios (Güeros (2014)), starring Gael Garcia Bernal (No (2012), The Motorcycle Diaries (2004)) and Leonardo Ortizgris (Güeros). Loosely based on a real story, the film won the Silver Bear for Best Screenplay at the Berlin International Film Festival 2018, and is about two young men in their thirties who still live with their families, while trying to become veterinarians. They decide to break their cycle of personal desperation by robbing the National Museum of Anthropology in Mexico City. What follows is their journey trying to convert their stolen Mayan artefacts into money, while battling personal doubts, since they did not initially realise what their theft might mean culturally and societally for the people of Mexico. Museo is a well-made film with an interesting premise and an unusual dimension to it, but it is also fair to say that it often slides into some obvious melodrama, losing its force and conviction. Continue reading ““Museo” Mini-Review”
Everybody Knows (Todos lo saben) (2018)
This mystery-thriller comes from the acclaimed director Asghar Farhadi (The Salesman (2016)), and stars such big-time actors as Penelope Cruz (Volver (2006)), Javier Bardem (Mother! (2017)) and Ricardo Darin (The Secret in Their Eyes (2009)). It seems therefore like this film can do no wrong, but, unfortunately, much does not go well in this latest by Farhadi. In this story, Laura (Cruz) travels from Argentina to Spain with her two children to attend her sister’s wedding. She arrives to a quiet Spanish village of her childhood and is happy to strengthen relationship with her large extended family. However, when Laura’s teenage daughter gets kidnapped, familial secrets come dangerously close to being revealed, and the pool of suspects thins to point to some family members. In Everybody Knows, the lead actors’ performances cannot be faulted, and the film has this one-of-a-kind ambiance of traditional rural Spain. The director also admirably tries to explore some curious familial situations. However, the problem with this film is that it does not become a clever mystery-thriller with tension surrounding the kidnapping and some twists to come. Instead, overlong Everybody Knows is all about tedious melodramatic scenes, with the feeling left that the script could have been considered for some local TV series. Even more unfortunately, what “everybody knows” in the story or the big reveal could easily be guessed in the first half of this well-meaning “mystery” movie. Continue reading ““Everybody Knows” Mini-Review”
The Little Stranger (2018)
The film adaptation of Sarah Waters’ novel “The Little Stranger” had some bad public reviews, and, therefore, I was curious to see it. In the story, Dr Faraday (Domhnall Gleeson) reacquaints himself with one stately house (Hundreds Hall) he used to admire in his childhood. This is the house belonging to the Ayres family, who now find themselves in a pitiful financial and societal position. Dr Faraday tries to help the son of the family Roderick (Will Poulter) with his health issues, and gets close to the daughter of Mrs Ayres (Charlotte Rampling) – Caroline Ayres (Ruth Wilson). However, with his blinding attachment to the house, Dr Faraday does not even guess the horrors which the house apparently holds. The film is not bad. It is stylishly presented and has some intriguing character presentation. However, it is also problematic in a way it tries too awkwardly to tie together a period drama, with one central maladjusted character, and supernatural horror. Continue reading ““The Little Stranger” Review”
“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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