Showing posts with label Cinema. Show all posts
Showing posts with label Cinema. Show all posts

Sunday, June 08, 2008

Happiness - The Review, and The 8 Tag

Although I have written quite a number of reviews over the years (some of them on this blog, a few on see-hear-feel.blogspot.com) I don't claim to be a critic and a reviewer. I am not a cinema student either. I also don't like describing the plot, the characters their relationships etc. (unless absolutely necessary to drive home some other broader point about the movie). My reviews are mostly about what the movie makes one feel and think.

I have been looking for the right words to describe "Happiness" and have not been able to get too many. So I may end up using sentences that may get long and winding, very much unlike the movie itself though.
On the face of it, the movie looks sleazy and is weaved around tragic and scandalous subjects (like Paedophilia, Homosexuality, Masturbation etc). But when looked closely, its a very disturbing mirror shown to some of human realities. There is no point being driven home (or may be...?) but the extremely honest, understated, and darkly comical re-creation of what could otherwise only be described as human tragedies leaves one aghast and touched.
The humor has been weaved into the tragedy in such a way that you don't know whether to cry or to laugh. The movie is 'lightly dark', and almost mocks itself while portraying the hollowness of some of the human pursuits, and the helplessness of others.
Cinematically, its a very challenging script to pull off because of the highly sexual undertones (and overtones). But the movie deals with the situations extremely sensitively, without getting vulgar at any point. The intelligent black humor precariously balances itself between sleaze and depressing tragedy, never tending to become either!
The movie successfully manages to not pull the viewer into the depressing spiral that it creates. One may choose to look into the depth, the misery and the intensity, or just laugh through the film without getting involved with the intricate maze of ethical, moral and tragic realities that it is built upon. Thats why I like it so much, because it does solve the primary purpose of the medium - entertainment.
The movie has been so well made that its tough for me to get into any cinematic intricacies like evaluating performances or screenplay etc! Everything is just right. At least I didn't find any stark flaws. For me, the director was brilliant enough to make sure that each character was wonderfully crafted and judiciously utilised. The scenes are great because of the situations and their context. Of course, the actors have done a great job but its the director who has been able to make them do what they did by visualizing such unique yet real situations.
For eg. A desperate single guy who makes random phone calls for sex chat and shags on porn magazines all day, has the hots for his neighbor. He calls the neighbor one day, during one of those random phone-call routines, and tells her what he "imagines" doing to her. Such is her state of mind at the time of the phone call that she wants him to come over and do her. The scene when he actually lands up at her door, and both of them just end up sitting at the two ends of a sofa, is the most amazing dialogue-less scenes ever! The intricate situation and the multiple thoughts that may be going through the character's mind can only be imagined. He finally leaves and ends up sleeping (on the same bed but facing the other way) with the other larger sized lady neighbor, who has the hots for him.
Or the scene where a peadophile father answers all the questions, howsoever tough, when confronted by his prepubescent son!

I feel that people will have extreme reactions to the movie (Loved it vs Hated it). Those who hate it might say, among other things, that it reeks if looser mentality and inferiority complex. But I sense that even they would only be lying to themselves if they said they didn't relate to it. The biographies of the greatest of people are full of instances showing how they have been through both the sides of life and success. And then this movie has a chain of characters linking one looser who runs after another looser who runs after another looser and so on. (Quite similar in concept to the "Tauba tauba ve teri surat" video of Kailash Kher). Everybody, at the end of the day, is at the same level!

There is something very uncanny about the movie that I have still not been able to put my finger on. It doesn't say anything to anyone. It doesn't claim any pedestal or POV. Its just there, as a statement or a question, and yet it can't be ignored. Its too real a statement. Its not about 'What is happiness?', but its 'Is there happiness?'.

And one thing I can't forget ever is the "climax" of the film. I think the most apt final words ever spoken were said at the end of Happiness, - "I came".

~~~~~~~~~~~~end of review~~~~~~~~~~~~

Goonj tagged me. I'll keep it short.

8 things I am passionate about - Exploring Physics/Probability/Working of the mind/Will, Sensible Cinema/My movie collection, Cricket, My woman (Whoever she may be), Performing satisfactorily in my work (Whatever I do), Writing (lately), Understanding and Arguing.
8 things I want to do before I die - There is nothing that needs 'completion' or some kind of a time-frame. I am already doing all that I am passionate about and more, so even if I die today, I'd die a happy man.
8 things I say often - Right. Ok. Hmm. Fair enough. Cool hai. Relax. Bitch. Sorry.
8 books I have read recently - Shadows Of the Mind - Roger Penrose, Chaos - James Gleick, Fooled By Randomness - Nassim Nicholas Taleb, The God Experiments, My Experiments with Truth - Gandhi, Love Story - Erich Segal (3rd time), Remember Me (A chick-lit. Don't ask why. But loved it.), Just So Stories (Rudyard Kipling). "Recently" is quite a deceptive term here! These books have been read over 8 months.
8 songs I could listen to over and over - Drops Of Jupiter (Train), Afterglow (INXS), Hey You (Floyd), Trouble & Fix You (Coldplay), Turn The Page (Bob Segar version), One (U2), Top Gun Theme (Joe Satriani)
(I had done a similar post on Avanoo about, if my life were a movie then what would the soundtrack be? Check the link.)
8 things that attract me to my best friends - I have just 1 best friend and it would take me an eternity to come up with even 1 things that 'attracts' me to him. I am honestly completely truly repelled by the idea! There are a few more close friends, who are my friends inspite of what they are! :) Thats about it.

Most of the people have already done the tag and others will do it soon. So, I tag no one.

Thursday, June 05, 2008

Happiness!



"Happiness" by Todd Solontz is one of the MOST difficult and awesome work of art ever created!!!

not just because of the thoughts and content
not just because of the beauty of expression, the natural-ness of it all
not just because of being touching

because of all of it....

Tough job.... well done!...

Bravo Todd... Bravo!!!!!!!!


May be i'll write a detailed review soon...

Monday, June 02, 2008

Mundane Movie Update Post

I had a brilliant movie filled weekend!

I realised that Charlie Kaufman is a less sung master, Robin Williams can't be praised enough, Nicolas Cage CAN act (and brilliantly at that), the french maestro Truffaut's creations can be genuinely boring, that I do love Jack Black's brand of humor and am not scared of putting his name in the same sentence with Truffaut, and finally, I realised that penguins can spark existential thoughts and shy away from giving answers that they don't know that they just might know!

Movies in Question -

March Of The Penguins - Morgan Freeman (Voice)
A fascinating documentary on the lifecycle of Penguins! The existential thoughts? Well, you wonder what motivates them to take up that arduous journey? You wonder what makes them put their life at stake looking for a mate, having an egg, taking care of it at all costs, and then going away from each other?
What makes us feel that our feelings and emotions aren't as much a part of a mechanical universal plan as are the obvious trials and travails of the penguins? And by a mechanical plan I don't mean a super-intelligent being having programmed us. Just look at the commonality between every living thing. They procreate, multiply and further their species. All have a seemingly hidden purpose that they are not aware of. And most likely, there isn't any purpose at all. We humans are also equally unaware if a purpose at all exists, and we garb the procreating instinct under love, relationships, soul mates, affection, bond etc etc.
*end it* ;)

The Big White - Robin Williams
A simple touching film about a man who loves his wife a lot. A LOT. No... I mean, really... A LAAWWT!

Domicile Conjugal (Bed & Board) - Dir. Francis Truffaut
This movie almost bored me. Its too real. Its too obvious and its just too.. well may be french.
Newly wed couple, regular life-like neighborhood with various life-like 'characters', regular life, dedicated husband, husband slips for a mysterious looking Japanese woman (what a twist), wife doesn't like it (the other possibility being?), regular quarrels, husband leaves the house, experienced next door married woman assures the wife that husband will come back, husband realises that he really can't spend quality time with the Japanese woman due to certain cultural differences, calls his wife to tell her how bored and incompatible he is with the Japanese woman, comes back to wife, gets into the routine again, they start living the way regular married couples do, and start doing things that they used to see their long married neighbouring couple doing.
I have NO views on the story. I just saw it. Didn't get bored enough to leave it. Just kept watching and then it ended, and I started another.
I think if someone watches it just before getting married, they would get quite screwed in the head. They wouldn't know what the heck to make of it! What was the point?
Even I don't know what the heck to make of it, but the good thing is, I am not getting married. ;)

School Of Rock - Jack Black
I remember having noticed Jack Black for the first time in "High Fidelity" and I loved the character! This guy can be so full of energy! And then I saw this awesome cameo of his in "Melvin Goes To Dinner" (Its an amazing must watch film about 4 almost strangers, ending up in a restaurant together and getting into a series of highly unexpected, long and engaging conversations about almost everything under the sun!). "Envy" is another underrated spoof on life that had him in a lead role!
'School of Rock' has infinite entertainment value if viewed right after 'Domicile Conjugal'.

Adaptation - Nicolas Cage, Wri. Charlie Kauffman
Brilliant and extremely intelligent piece of work. Pulling off such a script and the screenplay and not getting lost in it or not messing it up is an extraordinary feat in itself!
Over and above the fact that its an emotionally intelligent film, one must also watch it if they love exploring intricacies and looking for logical flaws ;). As per me, there is ONE. Not exactly a flaw, but an angle, if taken care of, could have made the movie even more brilliant. But no point mentioning it unless some of you have seen it and can discuss!

Confessions Of A Dangerous Mind - Wri. Charlie Kauffman
I realised that Kaufman is also the brain behind "Being John Malkovich", "Eternal Sunshine Of the Spotless Mind" and a lesser known brilliant movie called "Human Nature". Having seen all others, I had to pick up "Confessions..." straight away. And I wasn't disappointed at all. But "Confessions..." gains its impact from the fascinating life of Chuck Barris (An (in)famous game show creator of 60's and 70's), whose 'unauthorised' autobiography the film is based on, rather than the scripting brilliance of Kaufman (who obviously does a great job again!). It stars George Clooney too, who plays a character that possibly never existed in Chuck's life!... Fantastic film.

And yes, I also saw Airheads (Brendan Fraiser, Adam Sandler and Steve Buscemi (of the tarantino group)). It was ok, decently entertaining, but didn't deserve a mention up there.


Thursday, February 07, 2008

Deconstructing Harry: I am embarrassed...

"Deconstructing Harry"...a deceptively autobiographical movie written and directed by Woody Allen. Its HILLLARIOUS to the core. Yes its profane and vulgar, but tell me one person who didn't laugh at least once, while watching a porn flick. No, this isn't a porn flick.



I have not seen much of Woody, although I am sure that henceforth I will. DH is one of the most brashly honest piece of work I have seen. The backdrop of the story is that of a self proclaimed spiritually and morally bankrupt writer facing a writer's block. And the reason why it stayed with me is that I could see quiet a handful of myself in Harry/Woody!
Now, although thats not very important, but its a good enough reason for embarrassment.

Heres what this character is like -
- 60+ and still a boy
- loves his son but can't understand marriage
- doesn't believe in God but is sure of Satan
- believes in physics, black holes and sexual encounters of all kinds
- obnoxious freely hopelessly honest chain lover
- doesn't like being lonely, can't keep wives
- irritatingly argumentative while defending himself
- genuinely innocent while defending himself
- can't understand women
- can't live without women
- flirt, liar, cheat... for people in general
- truthful, honest, fair in his own weird unreal way

A few good thing that I could pick were -
- doesn't like tradition, thinks of all human kind as ONE
- honest to himself
- funny
- actually innocent (Nah.. I am just being good to him)

His treatment of love, marriage, children, sexuality and religion are not necessarily incisive but are very humorous. I suggest you pick it up if you want to watch a weird satirical comedy that gives you a peek into a strange master artist's psychology.

Saturday, October 20, 2007

Stranger Than Fiction

I saw this movie last night. Stranger than fiction.

Earlier, I read a football champion and a wrestler, narrate his experience of coping with the "Central Cord Syndrome", as a result of a wrestling match accident. He explained how the toughest problems in life seem quiet manageable, only if we put them "in a little bit of persepctive"

Expressing gratitude for simplest of things in life doesnt really come naturally to us. Nothing is too big and unsurmountable to die worrying about. And nothing is too small and insignificant to not be thankful for.

Many have spoken about it and felt it. And still, possibly, all of us tend to instinctively forget it.

I love this film for its simplicity, humor, extremely intelligent and engaging story telling and finally for the message. (There is an undertone of 'Douglas Adams' throughout the narrative approach of the film. It only adds to the whole impact.)

Sharing three quotes from the film -

1.
Dr. Jules Hilbert: Hell Harold, you could just eat nothing but pancakes if you wanted.
Harold Crick: What is wrong with you? Hey, I don't want to eat nothing but pancakes, I want to live! I mean, who in their right mind, in a choice between pancakes and living, chooses pancakes?
Dr. Jules Hilbert: Harold, if you pause to think, you'd realize that, that answer is inextricably contingent upon the type of life being led and, of course, the quality of the pancakes.

2.
Kay Eiffel: "If a man does know he is going to die, and dies anyway, dies willingly knowing he could stop it, then, isnt that the type of man you want to keep alive!"

3.
"As Harold took a bite of Bavarian sugar cookie, he finally felt as if everything was going to be ok. Sometimes, when we lose ourselves in fear and despair, in routine and constancy, in hopelessness and tragedy, we can thank God for Bavarian sugar cookies. And, fortunately, when there aren't any cookies, we can still find reassurance in a familiar hand on our skin, or a kind and loving gesture, or subtle encouragement, or a loving embrace, or an offer of comfort, not to mention hospital gurneys and nose plugs, an uneaten Danish, soft-spoken secrets, and Fender Stratocasters, and maybe the occasional piece of fiction. And we must remember that all these things, the nuances, the anomalies, the subtleties, which we assume only accessorize our days, are effective for a much larger and nobler cause. They are here to save our lives. I know the idea seems strange, but I also know that it just so happens to be true. And, so it was, a wristwatch saved Harold Crick."


Thursday, August 23, 2007

Martin Scorsese's Tribute To Michelangelo Antonioni


NINETEEN-SIXTY-ONE ... a long time ago. Almost 50 years. But the sensation of seeing “L’Avventura” for the first time is still with me, as if it had been yesterday.

Where did I see it? Was it at the Art Theater on Eighth Street? Or was it the Beekman? I don’t remember, but I do remember the charge that ran through me the first time I heard that opening musical theme — ominous, staccato, plucked out on strings, so simple, so stark, like the horns that announce the next tercio during a bullfight. And then, the movie. A Mediterranean cruise, bright sunshine, in black and white widescreen images unlike anything I’d ever seen — so precisely composed, accentuating and expressing ... what? A very strange type of discomfort. The characters were rich, beautiful in one way but, you might say, spiritually ugly. Who were they to me? Who would I be to them?

They arrived on an island. They split up, spread out, sunned themselves, bickered. And then, suddenly, the woman played by Lea Massari, who seemed to be the heroine, disappeared. From the lives of her fellow characters, and from the movie itself. Another great director did almost exactly the same thing around that time, in a very different kind of movie. But while Hitchcock showed us what happened to Janet Leigh in “Psycho,” Michelangelo Antonioni never explained what had happened to Massari’s Anna. Had she drowned? Had she fallen on the rocks? Had she escaped from her friends and begun a new life? We never found out.

Instead the film’s attention shifted to Anna’s friend Claudia, played by Monica Vitti, and her boyfriend Sandro, played by Gabriele Ferzetti. They started to search for Anna, and the picture seemed to become a kind of detective story. But right away our attention was drawn away from the mechanics of the search, by the camera and the way it moved. You never knew where it was going to go, who or what it was going to follow. In the same way the attentions of the characters drifted: toward the light, the heat, the sense of place. And then toward one another.So it became a love story. But that dissolved too. Antonioni made us aware of something quite strange and uncomfortable, something that had never been seen in movies. His characters floated through life, from impulse to impulse, and everything was eventually revealed as a pretext: the search was a pretext for being together, and being together was another kind of pretext, something that shaped their lives and gave them a kind of meaning. The more I saw “L’Avventura” — and I went back many times — the more I realized that Antonioni’s visual language was keeping us focused on the rhythm of the world: the visual rhythms of light and dark, of architectural forms, of people positioned as figures in a landscape that always seemed terrifyingly vast. And there was also the tempo, which seemed to be in sync with the rhythm of time, moving slowly, inexorably, allowing what I eventually realized were the emotional shortcomings of the characters — Sandro’s frustration, Claudia’s self-deprecation — quietly to overwhelm them and push them into another “adventure,” and then another and another. Just like that opening theme, which kept climaxing and dissipating, climaxing and dissipating. Endlessly.Where almost every other movie I’d seen wound things up, “L’Avventura” wound them down. The characters lacked either the will or the capacity for real self-awareness. They only had what passed for self-awareness, cloaking a flightiness and lethargy that was both childish and very real. And in the final scene, so desolate, so eloquent, one of the most haunting passages in all of cinema, Antonioni realized something extraordinary: the pain of simply being alive. And the mystery.

“L’Avventura” gave me one of the most profound shocks I’ve ever had at the movies, greater even than “Breathless” or “Hiroshima, Mon Amour” (made by two other modern masters, Jean-Luc Godard and Alain Resnais, both of them still alive and working). Or “La Dolce Vita.” At the time there were two camps, the people who liked the Fellini film and the ones who liked “L’Avventura.” I knew I was firmly on Antonioni’s side of the line, but if you’d asked me at the time, I’m not sure I would have been able to explain why. I loved Fellini’s pictures and I admired “La Dolce Vita,” but I was challenged by “L’Avventura.” Fellini’s film moved me and entertained me, but Antonioni’s film changed my perception of cinema, and the world around me, and made both seem limitless. (It was two years later when I caught up with Fellini again, and had the same kind of epiphany with “8 ½.”)

The people Antonioni was dealing with, quite similar to the people in F. Scott Fitzgerald’s novels (of which I later discovered that Antonioni was very fond), were about as foreign to my own life as it was possible to be. But in the end that seemed unimportant. I was mesmerized by “L’Avventura” and by Antonioni’s subsequent films, and it was the fact that they were unresolved in any conventional sense that kept drawing me back. They posed mysteries — or rather the mystery, of who we are, what we are, to each other, to ourselves, to time. You could say that Antonioni was looking directly at the mysteries of the soul. That’s why I kept going back. I wanted to keep experiencing these pictures, wandering through them. I still do.

Antonioni seemed to open up new possibilities with every movie. The last seven minutes of “L’Eclisse,” the third film in a loose trilogy he began with “L’Avventura” (the middle film was “La Notte”), were even more terrifying and eloquent than the final moments of the earlier picture. Alain Delon and Ms. Vitti make a date to meet, and neither of them show up. We start to see things — the lines of a crosswalk, a piece of wood floating in a barrel — and we begin to realize that we’re seeing the places they’ve been, empty of their presence. Gradually Antonioni brings us face to face with time and space, nothing more, nothing less. And they stare right back at us. It was frightening, and it was freeing. The possibilities of cinema were suddenly limitless.

We all witnessed wonders in Antonioni’s films — those that came after, and the extraordinary work he did before “L’Avventura,” pictures like “La Signora Senza Camelie,” “Le Amiche,” “Il Grido” and “Cronaca di un Amore,” which I discovered later. So many marvels — the painted landscapes (literally painted, long before CGI) of “Red Desert” and “Blowup,” and the photographic detective story in that later film, which ultimately led further and further away from the truth; the mind-expanding ending of “Zabriskie Point,” so reviled when it came out, in which the heroine imagines an explosion that sends the detritus of the Western world cascading across the screen in super slow motion and vivid color (for me Antonioni and Godard were, among other things, truly great modern painters); and the remarkable last shot of “The Passenger,” where the camera moves slowly out the window and into a courtyard, away from the drama of Jack Nicholson’s character and into the greater drama of wind, heat, light, the world unfolding in time.

I crossed paths with Antonioni a number of times over the years. Once we spent Thanksgiving together, after a very difficult period in my life, and I did my best to tell him how much it meant to me to have him with us. Later, after he’d had a stroke and lost the power of speech, I tried to help him get his project “The Crew” off the ground — a wonderful script written with his frequent collaborator Mark Peploe, unlike anything else he’d ever done, and I’m sorry it never happened.
But it was his images that I knew, much better than the man himself. Images that continue to haunt me, inspire me. To expand my sense of what it is to be alive in the world.

















Michelangelo Antonioni

















Martin Scorsese


Source - NewYork Times & Financial Express

Intellectual Property - Beware