The Wild Bunchdir. Sam Peckinpah
10 January 2010
05 January 2010
Resolutions
Welcome to 2010.
I had somewhat given up on making resolutions at the beginning of every passing year. After a few years of breaking, forgetting, and compromising them I realized that it was just another way of disappointing myself. After a while, however, I realized that setting no goals in fear of failing is, well, kind of a lame way to avoid being accountable for myself.
I think the main problem was that my goals were always: a) too many b) too unrealistic c) too vague. They would usually pinpoint the faults in my character (and there are many) and aim to address every one -- basically in summation making my goal every year to be perfect.
This year, I've decided to make one general goal, which is this: don't take yourself too seriously.
I feel like I have a lot to prove sometimes -- to others, sure, but especially to myself. As I am in the void that is post-college pre-career life I have been filled with a quiet anxiety about the future and where I fit into it. Thoughts about what next step I should take constantly pass through my mind, to the point where I sometimes can't fall asleep at night unless I exhaust myself in front of the tv/computer/a book first (you might say I'm doing that right now). I have expectations of myself that I constantly fear not fulfilling.
And sure, it's a normal thing for many people my age or that are in my situation, but I tend to internalize this anxiety. I take myself too seriously to show it to others, to admit that I am incredibly vulnerable, unsure, and, well, maybe not as smart/talented, etc. as I expect myself to be or become. In turn I say little about my hopes to others in fear that I don't achieve them and appear foolish. To say plainly, for example, that I want to be a writer. To say plainly, for example, that I would like to teach film studies. Like my omission of resolution-setting, I tend to throw my shoulders up when asked "what do you want to do?" because I don't want to have to be accountable to those goals or be subject to the quiet judgment of those I tell ("Everyone thinks they're a writer." "Are you really smart enough to get into an ivy league grad school?"). Sometimes I shrug because I really don't know, and that's the ultimate truth about most things, but the uncertainty can be an excuse to make no plans or to avoid failure. That's when it's a problem. It's really all about the fear of failure, public failure.
I am certain I am hard-wired with a certain personality type, but I also think there's room for improvements or changes.
What does this have to do with Naive Cinema? Well, nothing! That's the point, I guess. As an action step for this new year's determination I am letting my guard down a little bit on this site. I never claimed to know anything about the movies (hence the blog name), but at the same I never really put myself out there. My face is absent from this blog, just in case my opinions are wrong or my writing is weak -- the only "person" accountable to this site's content is the avatar of Tony Perkins and a list of my favorite books/films/bands. I used it as a way to appear to be humble or not vain, but it's a false excuse. And to be honest, the lack of personality on this site makes it rather dry at times (I have been wanting to correct that for a while now, even apart from this whole resolution thing). So, as a corrective, I am claiming here and now that this blog will no longer just be about movies, but about me, Kazu Watanabe, and movies -- and everything else. Expect more rants, general reflections, and probably more bad poetry.
The domain name naivecinema.com expires in March and I don't think I'll be repurchasing or continuing it. I don't have enough to say about cinema (yet) and to restrict all the content on here to purely movies is a bit of a drag. I am not sure how I have 26 followers when only half of them are people I actually know. Maybe it was the picture I posted of Jayne Mansfield's nipple slip. In any case, I hope people who have been reading this will continue to read it. I do love an audience.
And, to seal the deal, here I am, eyebrows and all:
“If you're not failing every now and again, it's a sign you're not doing anything very innovative.” -Woody Allen
I had somewhat given up on making resolutions at the beginning of every passing year. After a few years of breaking, forgetting, and compromising them I realized that it was just another way of disappointing myself. After a while, however, I realized that setting no goals in fear of failing is, well, kind of a lame way to avoid being accountable for myself.
I think the main problem was that my goals were always: a) too many b) too unrealistic c) too vague. They would usually pinpoint the faults in my character (and there are many) and aim to address every one -- basically in summation making my goal every year to be perfect.
This year, I've decided to make one general goal, which is this: don't take yourself too seriously.
I feel like I have a lot to prove sometimes -- to others, sure, but especially to myself. As I am in the void that is post-college pre-career life I have been filled with a quiet anxiety about the future and where I fit into it. Thoughts about what next step I should take constantly pass through my mind, to the point where I sometimes can't fall asleep at night unless I exhaust myself in front of the tv/computer/a book first (you might say I'm doing that right now). I have expectations of myself that I constantly fear not fulfilling.
And sure, it's a normal thing for many people my age or that are in my situation, but I tend to internalize this anxiety. I take myself too seriously to show it to others, to admit that I am incredibly vulnerable, unsure, and, well, maybe not as smart/talented, etc. as I expect myself to be or become. In turn I say little about my hopes to others in fear that I don't achieve them and appear foolish. To say plainly, for example, that I want to be a writer. To say plainly, for example, that I would like to teach film studies. Like my omission of resolution-setting, I tend to throw my shoulders up when asked "what do you want to do?" because I don't want to have to be accountable to those goals or be subject to the quiet judgment of those I tell ("Everyone thinks they're a writer." "Are you really smart enough to get into an ivy league grad school?"). Sometimes I shrug because I really don't know, and that's the ultimate truth about most things, but the uncertainty can be an excuse to make no plans or to avoid failure. That's when it's a problem. It's really all about the fear of failure, public failure.
I am certain I am hard-wired with a certain personality type, but I also think there's room for improvements or changes.
What does this have to do with Naive Cinema? Well, nothing! That's the point, I guess. As an action step for this new year's determination I am letting my guard down a little bit on this site. I never claimed to know anything about the movies (hence the blog name), but at the same I never really put myself out there. My face is absent from this blog, just in case my opinions are wrong or my writing is weak -- the only "person" accountable to this site's content is the avatar of Tony Perkins and a list of my favorite books/films/bands. I used it as a way to appear to be humble or not vain, but it's a false excuse. And to be honest, the lack of personality on this site makes it rather dry at times (I have been wanting to correct that for a while now, even apart from this whole resolution thing). So, as a corrective, I am claiming here and now that this blog will no longer just be about movies, but about me, Kazu Watanabe, and movies -- and everything else. Expect more rants, general reflections, and probably more bad poetry.
The domain name naivecinema.com expires in March and I don't think I'll be repurchasing or continuing it. I don't have enough to say about cinema (yet) and to restrict all the content on here to purely movies is a bit of a drag. I am not sure how I have 26 followers when only half of them are people I actually know. Maybe it was the picture I posted of Jayne Mansfield's nipple slip. In any case, I hope people who have been reading this will continue to read it. I do love an audience.
And, to seal the deal, here I am, eyebrows and all:
“If you're not failing every now and again, it's a sign you're not doing anything very innovative.” -Woody Allen
03 January 2010
Top 10 for 2009 Redux (with some thoughts)
2009 was, somewhat unexpectedly, a year full of animated/3-D/adult-children's films. From early on in the year with Coraline to the yearly dosage of happiness that comes in the form of Pixar, to young, white male directors taking on children's classics (Where the Wild Things Are and Fantastic Mr. Fox, respectively) to the amusement park-like spectacle that is Avatar. Though I was still keeping up with arthouse films as well as the occasional big budget Hollywood fare, my theater-going experiences have been predominantly filled with talking animals, monsters, and children. And it's strange, because reflecting on all of these kiddie films, I always had a good time.
But is this a step forward or a step back?
There is a sense of abandon when you put on these aesthetically ridiculous 3-D glasses and sink into the plush megaplex seats, a surrender to the impulses of your inner child and the need to be filled with awe and wonder. Yet, where do these movies fit into the larger picture of Cinema (yes, with a capital "C"), and how much does the need to be thrilled like a child matter? At times I find it increasingly difficult to gauge what I think of a movie that I enjoyed in the way I enjoyed Avatar, which thrilled me the way a roller coaster would, but when analyzed critically is an amalgamation of cliches that depend entirely on its visual prowess. Or what can I say about Where the Wild Things Are? Is it good according to how much it makes me feel like a child when watching it?
Am I being dumbed down? Does giddiness and ooh-la-la graphics compensate for a lack of narrative bravery or creative editing or framing or shots? Or am I just being hyper-critical and missing the point?
Perhaps its a trend of nostalgia for simpler times and simpler entertainment amidst the complications of economic strife and the ever-increasing mess of a 6+ year war. Perhaps Pixar has shown other movie makers that old-fashioned storybook charm (and cutting-edge graphics) can still make money. Perhaps it's just coincidence. In any case, the surplus of kid cinema makes it difficult to determine what makes a movie good, or at least one better than the other -- as if every movie should make me giddy instead of thoughtful. It's not a new problem, but I feel the distinction between feel-good and just plain good movies is even more blurred this year.
So I present my list for fave movies of 2009, the criteria of which I haven't completely figured out yet. Kid cinema and serious cinema holding hands.
1. Inglourious Basterds dir. Quentin Tarantino
Tarantino writes a fantastic character that is played by an even more fantastic actor (Christoph Waltz, God bless you) in a bloody, messy film that is filled with movie love. Maybe the most cinematic film I've seen all year, Tarantino uses the language of film in ways that many film directors have long forgotten. Great set pieces, great tension. And Christoph Waltz, Christoph Waltz, Christoph Waltz!
2. Two Lovers dir. James Gray
One of the last films I saw this year, and one of my favorites. I think my response to it was so strong because I was desperate for something earnest, something serious. It is character study and a bit of a romance drama and the narrative is nothing revelatory, but the subtle style in which it is filmed and acted is a big breath of fresh air. A ballsy film that aims to be romantic and serious cinematic art -- and, in my opinion, is exactly that. It also presents the idea that life is often a compromise, though not always a terrible one, an idea I love.
3. Fantastic Mr. Fox dir. Wes Anderson
Of all the kid cinema I've enjoyed this year, Mr. Anderson perhaps got it the best. Maybe he has the advantage of his auteur name and attached stylistc/thematic expectations, but I felt the tone was exactly right. It didn't simply allow for the expression of his quirks, but it balanced adult themes of family life and aspiration with the endearing qualities of stop motion animation. And it was very, very funny.
4. Up dir. Pete Docter and Bob Peterson
God, I don't know what to say. I'm almost sick of seeing Pixar films in my top 10s. It's like I almost resent Pixar for being so consistently able to steal my heart year after year. Yet here it is, another glorious winner.
5. The White Ribbon dir. Michael Haneke
Exquisitely shot and composed, with a austere kind of beauty reminiscent of Bergman, Haneke's film is haunting and enigmatic. Perhaps overloaded with Meaning and Art, but who cares -- the mystery and brutality of this small town is fantastically engaging.
6. The Hurt Locker dir. Kathryn Bigelow
An incredibly tense and terrifying modern war film in which heroism and insanity are fed by the same adrenaline glands. I started to sweat at some points of this film, and the theater was quite chilly.
7. Adventureland dir. Greg Mottola
Surprisingly well-done with authentic pieces of dialogue and emotion. Not to mention a killer soundtrack that bookends with The Replacements.
8. Anvil! The Story of Anvil dir. Sacha Gervasi
The most emotionally-charged film of the year for me, certainly. I love stories that have to do with the very American ambition for success -- and how it can repeatedly fail to pay off. A movie about the bonds of friendship, living with integrity, and the guts (stubbornness? stupidity?) to keep trying.
9. Public Enemies dir. Michael Mann
Though it is absolutely flawed and ultimately a little disappointing, I couldn't help but be incredibly taken in with this odd, inappropriate(?) take on a '30s gangster period picture. The tone was so strange, so somber, and at times flat, that it made it even more intriguing to me. I would definitely see this a few more times.
10. Avatar dir. James Cameron
As far as movie-going experiences this year, Avatar is a highlight. The use of 3D in Cameron's film went beyond expectations and managed a level of depth that felt like a new world had really been created (despite the simple silliness of the story).
Runners up: Coraline, Where the Wild Things Are, Star Trek, An Education, A Serious Man, Police, Adjective, The Headless Woman, Bright Star
But is this a step forward or a step back?
There is a sense of abandon when you put on these aesthetically ridiculous 3-D glasses and sink into the plush megaplex seats, a surrender to the impulses of your inner child and the need to be filled with awe and wonder. Yet, where do these movies fit into the larger picture of Cinema (yes, with a capital "C"), and how much does the need to be thrilled like a child matter? At times I find it increasingly difficult to gauge what I think of a movie that I enjoyed in the way I enjoyed Avatar, which thrilled me the way a roller coaster would, but when analyzed critically is an amalgamation of cliches that depend entirely on its visual prowess. Or what can I say about Where the Wild Things Are? Is it good according to how much it makes me feel like a child when watching it?
Am I being dumbed down? Does giddiness and ooh-la-la graphics compensate for a lack of narrative bravery or creative editing or framing or shots? Or am I just being hyper-critical and missing the point?
Perhaps its a trend of nostalgia for simpler times and simpler entertainment amidst the complications of economic strife and the ever-increasing mess of a 6+ year war. Perhaps Pixar has shown other movie makers that old-fashioned storybook charm (and cutting-edge graphics) can still make money. Perhaps it's just coincidence. In any case, the surplus of kid cinema makes it difficult to determine what makes a movie good, or at least one better than the other -- as if every movie should make me giddy instead of thoughtful. It's not a new problem, but I feel the distinction between feel-good and just plain good movies is even more blurred this year.
So I present my list for fave movies of 2009, the criteria of which I haven't completely figured out yet. Kid cinema and serious cinema holding hands.
1. Inglourious Basterds dir. Quentin Tarantino
Tarantino writes a fantastic character that is played by an even more fantastic actor (Christoph Waltz, God bless you) in a bloody, messy film that is filled with movie love. Maybe the most cinematic film I've seen all year, Tarantino uses the language of film in ways that many film directors have long forgotten. Great set pieces, great tension. And Christoph Waltz, Christoph Waltz, Christoph Waltz!2. Two Lovers dir. James Gray
One of the last films I saw this year, and one of my favorites. I think my response to it was so strong because I was desperate for something earnest, something serious. It is character study and a bit of a romance drama and the narrative is nothing revelatory, but the subtle style in which it is filmed and acted is a big breath of fresh air. A ballsy film that aims to be romantic and serious cinematic art -- and, in my opinion, is exactly that. It also presents the idea that life is often a compromise, though not always a terrible one, an idea I love.3. Fantastic Mr. Fox dir. Wes Anderson
Of all the kid cinema I've enjoyed this year, Mr. Anderson perhaps got it the best. Maybe he has the advantage of his auteur name and attached stylistc/thematic expectations, but I felt the tone was exactly right. It didn't simply allow for the expression of his quirks, but it balanced adult themes of family life and aspiration with the endearing qualities of stop motion animation. And it was very, very funny.4. Up dir. Pete Docter and Bob Peterson
God, I don't know what to say. I'm almost sick of seeing Pixar films in my top 10s. It's like I almost resent Pixar for being so consistently able to steal my heart year after year. Yet here it is, another glorious winner.5. The White Ribbon dir. Michael Haneke
Exquisitely shot and composed, with a austere kind of beauty reminiscent of Bergman, Haneke's film is haunting and enigmatic. Perhaps overloaded with Meaning and Art, but who cares -- the mystery and brutality of this small town is fantastically engaging.6. The Hurt Locker dir. Kathryn Bigelow
An incredibly tense and terrifying modern war film in which heroism and insanity are fed by the same adrenaline glands. I started to sweat at some points of this film, and the theater was quite chilly.7. Adventureland dir. Greg Mottola
Surprisingly well-done with authentic pieces of dialogue and emotion. Not to mention a killer soundtrack that bookends with The Replacements.8. Anvil! The Story of Anvil dir. Sacha Gervasi
The most emotionally-charged film of the year for me, certainly. I love stories that have to do with the very American ambition for success -- and how it can repeatedly fail to pay off. A movie about the bonds of friendship, living with integrity, and the guts (stubbornness? stupidity?) to keep trying.9. Public Enemies dir. Michael Mann
Though it is absolutely flawed and ultimately a little disappointing, I couldn't help but be incredibly taken in with this odd, inappropriate(?) take on a '30s gangster period picture. The tone was so strange, so somber, and at times flat, that it made it even more intriguing to me. I would definitely see this a few more times.10. Avatar dir. James Cameron
As far as movie-going experiences this year, Avatar is a highlight. The use of 3D in Cameron's film went beyond expectations and managed a level of depth that felt like a new world had really been created (despite the simple silliness of the story). Runners up: Coraline, Where the Wild Things Are, Star Trek, An Education, A Serious Man, Police, Adjective, The Headless Woman, Bright Star
28 December 2009
Top 25 films of the Decade (2000-2009)
Needless to say, this was an incredibly difficult list to compile. I often only see a film once and have to thus rely on the instincts of my first impression, which often morphs over time (i.e. I have found myself gaining appreciation for a film without seeing it again, and vice versa.) Anyway, the point is that I had to trust my instincts. The criteria I used to determine the top 10 was whether it: powerfully impacted me emotionally, overwhelmed me with its mastery of form and content, or was able to have me enjoy it repeatedly. In all, this is a subjective list of favorites, movies that I love for one reason or another. I had trouble distinguishing ranking past the top 10; numbers 25-11 are listed alphabetically.
Adaptation (2002) dir. Spike Jonze
The Assassination of Jesse James... (2007) dir. Andrew Dominik
Brokeback Mountain (2005) dir. Ang Lee
The Diving Bell and the Butterfly (2007) dir. Julian Schnabel
In the Mood for Love (2000) dir. Wong Kar Wai
Inglourious Basterds (2009) dir. Quentin Tarantino
Letters from Iwo Jima (2006) dir. Clint Eastwood
Napoleon Dynamite (2004) dir. Jared Hess
The New World (2005) dir. Terrence Malick
Rachel Getting Married (2008) dir. Jonathan Demme
Spirited Away (2001) dir. Hayao Miyazaki
The Squid and the Whale (2005) dir. Noah Baumbach
Synecdoche, New York (2008) dir. Charlie Kaufman
Talk to Her (2002) dir. Pedro Almodovar
Two Lovers (2008) dir. James Gray
10. Zodiac (2007) dir. David Fincher
One of the most well-made and cinematically thrilling films of the decade, absolutely. An obsessive police procedural that frustrated, frightened, and fucked with me.
9. Ratatouille/ Wall-E/ Up (2007, 2008, 2009) Pixar
Yes, I'm cheating. And it won't be the last time, so deal with it. Anyway, these Pixar films each made me feel so good that I always feel like a giddy kid upon leaving the theater. I have trouble picking a favorite (though it's probably Wall-E), so here's the last three.
8. Eternal Sunshine for the Spotless Mind (2004) dir. Michel Gondry
A great, fun film that has the perfect use of magical realism, emotion, and quirk. All of the plot twists happen at exactly the right time and are conveyed beautifully through images.
7. High Fidelity (2000) dir. Stephen Frears
My most personal pick. Perfect casting with a completely pleasurable script and subject matter. When I was in high school and saw this film I felt, "Yes! That's what I'm like! Yes, I love lists! Yes, my taste compensates for my lack of personality!" Those sentiments are still true today. "Books, records, films - these things matter. Call me shallow, but it's the fuckin' truth!"
6. Yi Yi (2000) dir. Edward Yang
A rather long Taiwanese family drama that manages to touch on all of the complications of modern family life -- hostility, love, regret -- that ultimately add up to a bittersweet experience.
5. The Royal Tenenbaums (2001) dir. Wes Anderson
This is still the definitive film of Wes Anderson's style, themes, and characters. It also created the stylistic template from which dozens of other indie films will copy. I have seen it too many times to understand why I like it so much at this point, but given some distance I think that this movie firmly establishes that Anderson is a singular cinematic talent.
4. Mulholland Drive (2001) dir. David Lynch
My memory of this film remains like that of a dream -- existing in fragments of images and attached feelings that don't make sense together. Revisiting it, I realize that it was also constructed that way. This was a game changer. It made me re-evaluate the power and function of movies.
3. Gosford Park (2001) dir. Robert Altman
A late masterpiece by one of my favorite American directors. This movie has so much going on in it in terms of characters, plots, and moods that it seems impossible that it should come out so well in the end. It's a delicious play on Agatha Christie mysteries and Renoir's Le regle du jeu. Altman reigns!
2. There Will Be Blood (2007) dir. Paul Thomas Anderson
This film blew me away when I first saw it in the theater. My memory of it remains incredibly strong, and though I could name some faults in it (Paul Dano, for one), the overall force of it overrides all of that. Thank God Paul Thomas Anderson makes movies.
1. No Country for Old Men (2007) dir. Joel and Ethan Coen
A perfect movie as far as I'm concerned. I have little else to say about it. A perfect movie that I am deeply in love with.
Adaptation (2002) dir. Spike Jonze
The Assassination of Jesse James... (2007) dir. Andrew Dominik
Brokeback Mountain (2005) dir. Ang Lee
The Diving Bell and the Butterfly (2007) dir. Julian Schnabel
In the Mood for Love (2000) dir. Wong Kar Wai
Inglourious Basterds (2009) dir. Quentin Tarantino
Letters from Iwo Jima (2006) dir. Clint Eastwood
Napoleon Dynamite (2004) dir. Jared Hess
The New World (2005) dir. Terrence Malick
Rachel Getting Married (2008) dir. Jonathan Demme
Spirited Away (2001) dir. Hayao Miyazaki
The Squid and the Whale (2005) dir. Noah Baumbach
Synecdoche, New York (2008) dir. Charlie Kaufman
Talk to Her (2002) dir. Pedro Almodovar
Two Lovers (2008) dir. James Gray
10. Zodiac (2007) dir. David Fincher
One of the most well-made and cinematically thrilling films of the decade, absolutely. An obsessive police procedural that frustrated, frightened, and fucked with me.
9. Ratatouille/ Wall-E/ Up (2007, 2008, 2009) Pixar
Yes, I'm cheating. And it won't be the last time, so deal with it. Anyway, these Pixar films each made me feel so good that I always feel like a giddy kid upon leaving the theater. I have trouble picking a favorite (though it's probably Wall-E), so here's the last three.
8. Eternal Sunshine for the Spotless Mind (2004) dir. Michel Gondry
A great, fun film that has the perfect use of magical realism, emotion, and quirk. All of the plot twists happen at exactly the right time and are conveyed beautifully through images.
7. High Fidelity (2000) dir. Stephen Frears
My most personal pick. Perfect casting with a completely pleasurable script and subject matter. When I was in high school and saw this film I felt, "Yes! That's what I'm like! Yes, I love lists! Yes, my taste compensates for my lack of personality!" Those sentiments are still true today. "Books, records, films - these things matter. Call me shallow, but it's the fuckin' truth!"
6. Yi Yi (2000) dir. Edward Yang
A rather long Taiwanese family drama that manages to touch on all of the complications of modern family life -- hostility, love, regret -- that ultimately add up to a bittersweet experience.
5. The Royal Tenenbaums (2001) dir. Wes Anderson
This is still the definitive film of Wes Anderson's style, themes, and characters. It also created the stylistic template from which dozens of other indie films will copy. I have seen it too many times to understand why I like it so much at this point, but given some distance I think that this movie firmly establishes that Anderson is a singular cinematic talent.
4. Mulholland Drive (2001) dir. David Lynch
My memory of this film remains like that of a dream -- existing in fragments of images and attached feelings that don't make sense together. Revisiting it, I realize that it was also constructed that way. This was a game changer. It made me re-evaluate the power and function of movies.
3. Gosford Park (2001) dir. Robert Altman
A late masterpiece by one of my favorite American directors. This movie has so much going on in it in terms of characters, plots, and moods that it seems impossible that it should come out so well in the end. It's a delicious play on Agatha Christie mysteries and Renoir's Le regle du jeu. Altman reigns!
2. There Will Be Blood (2007) dir. Paul Thomas Anderson
This film blew me away when I first saw it in the theater. My memory of it remains incredibly strong, and though I could name some faults in it (Paul Dano, for one), the overall force of it overrides all of that. Thank God Paul Thomas Anderson makes movies.
1. No Country for Old Men (2007) dir. Joel and Ethan Coen
A perfect movie as far as I'm concerned. I have little else to say about it. A perfect movie that I am deeply in love with.
18 December 2009
15 December 2009
Quick Takes
Since my TV has been broken for the past week (repaired and returned today!) I have been making trips to the theater more often than usual. Here are some quick reactions to two 2009 Golden Globe-nominated films.
Invictus dir. Clint Eastwood
Has the visual flair and mastery of narrative expected from Eastwood, but with the inspiration dial at 11. Though it doesn't completely go Disney, it dances dangerously close at points -- especially with one terrible song choice in which the word "colorblind" is used. Strong performances from Freeman and Damon (both nominated for Globes, though Damon will probably be dropped from consideration for the Oscars), but nothing revelatory. It's a feel-good film if you let it be, especially when considering the actual Mandela and his history.
An Education dir. Lone Scherfig
A completely pleasant surprise. A very pretty and well-directed film penned by Nick Hornby. The story pulls you along in familiar narrative avenues and then makes quick detours that complicate and enliven what could otherwise be a very typical teen drama. Carey Mulligan is a great discovery, and I look forward to seeing more of her. Alfred Molina also does an exceptional job. Peter Sarasgaard is at his charming best (except when his shirt is off), along with his Wildesque dandy best friend. Also a great discovery is director Lone Scherfig, whose choices I felt were unusual and compelling, particularly in choosing not to show what would normally be climactic scenes, favoring the reactions to them instead.
Invictus dir. Clint Eastwood
Has the visual flair and mastery of narrative expected from Eastwood, but with the inspiration dial at 11. Though it doesn't completely go Disney, it dances dangerously close at points -- especially with one terrible song choice in which the word "colorblind" is used. Strong performances from Freeman and Damon (both nominated for Globes, though Damon will probably be dropped from consideration for the Oscars), but nothing revelatory. It's a feel-good film if you let it be, especially when considering the actual Mandela and his history.An Education dir. Lone Scherfig
A completely pleasant surprise. A very pretty and well-directed film penned by Nick Hornby. The story pulls you along in familiar narrative avenues and then makes quick detours that complicate and enliven what could otherwise be a very typical teen drama. Carey Mulligan is a great discovery, and I look forward to seeing more of her. Alfred Molina also does an exceptional job. Peter Sarasgaard is at his charming best (except when his shirt is off), along with his Wildesque dandy best friend. Also a great discovery is director Lone Scherfig, whose choices I felt were unusual and compelling, particularly in choosing not to show what would normally be climactic scenes, favoring the reactions to them instead.
12 December 2009
Ode to Written on the Wind
In continuation of my attempt to capture what I love about my favorite movies through crude poetry. Part 1 with Stagecoach is here, Part 2 with McCabe & Mrs. Miller is here.
My wishes whip against me
like the winds that used to blow
by the river and make you laugh
as they tossed my hair.
What I wouldn't give to be there
instead of here,
picking up greasy gas station boys
just to prove I can love enough,
with a bottle of stuff
from daddy's drawer.
You son of a bitch!
Can't you hear me tango
with your picture
every night in my best dress?
You stupid fool!
Can't you see the color
of my lipstick
matches the blood in my heart?
So I sit inside the window's ledge,
staring at the edge of the lawn
where you have already driven off
with someone else's daughter -
and I lie by the river
alone with my wishes
written on the wind.
My wishes whip against melike the winds that used to blow
by the river and make you laugh
as they tossed my hair.
What I wouldn't give to be there
instead of here,
picking up greasy gas station boys
just to prove I can love enough,
with a bottle of stuff
from daddy's drawer.
You son of a bitch!
Can't you hear me tango
with your picture
every night in my best dress?
You stupid fool!
Can't you see the color
of my lipstick
matches the blood in my heart?
So I sit inside the window's ledge,
staring at the edge of the lawn
where you have already driven off
with someone else's daughter -
and I lie by the river
alone with my wishes
written on the wind.
Subscribe to:
Posts (Atom)
Posts
