Almost up to date now – so it’ll back to the usual, somewhat irregular, schedule for these Moving picture posts after this one. A bit of a mixed bag this time – three from the US, two from France, and one from Spain (that isn’t actually Spanish); mostly from the 1980s; and mostly drama.
Parking, Jacques Demy (1985, France). I’m really not sure what to make of this one. It’s like a cross between Cocteau’s Orphée and Xanadu, although without being anywhere near as awful as the latter. It’s actually a retelling, more or less, of Orphée – and Jean Marais, who played the title role in Cocteau’s film, plays Hades in this – but rather than a beatnik poet, Orpheus is a rockstar. Who wears a white jumpsuit and a red headband. And his music is awful – bland, insipid elevator rock, the sort of music Kenny G would sing if he’d been a singer. While rehearsing on stage, Orpheus is electrocuted. But when he gets to the afterlife, Hades can find no record indicating he was due. So he sends him back. Then a woman he met there, Hades’ personal assistant, Claude Perséphone, contacts Orpheus and offers to represent him. He refuses. But Orpheus’s girlfriend, Eurydice, commits suicide, so he tracks down Perséphone and persuades her to lead him back to the underworld in order to rescue Eurydice. The sections set in the afterlife are in black and white, with the occasional red, and the underworld itself resembles either an underground car park or the basement of some huge building. Those scenes are reasonably effective, although they’re not a patch on Orphée‘s, but the movie is completely hamstrung by Orpheus’s music and the baffling success he has apparently had with it. Not one of Demy’s better efforts.
sex, lies and videotape*, Steven Soderbergh (1989, USA). This film apparently had an enormous impact on the independent film industry in the US, and Soderbergh has always been one of the more interesting US directors… and, to be fair, time has been relatively kind to it… but it’s a type of drama I don’t find particularly interesting. A school friend of a philandering lawyer drops into town to stay for the weekend, but decides to stay on for longer and rents a house. The lawyer’s wife helps him furnish the flat, and thwe two swap personal histories. The friend admits he cannot perform sexually with another person, and has taken to interviewing women on video about their sexual histories. Meanwhile, the lawyer is having an affair with a sister-in-law, and she becomes interested in the friend with the videotapes… and it only really ends badly for the lawyer, who pretty much deserved it. For all its polished dialogue and cast, I found it all a bit dull. But given the film’s impact, I suspect it belongs on the 1001 Movies You Must See Before You Die list, and I can at least now cross it off.
Koyaanisqatsi*, Godfrey Reggio (1982, USA). I knew of this film but had never heard it mentioned all that approvingly, and despite knowing roughly what it was – ie, footage of cities and landscape, with music but no voiceover – and being a fan of James Benning’s films – it had never occurred to me to actually watch Koyaanisqatsi. But it’s on the 1001 Movies You Must See Before You Die list, so I bunged it on the rental list, and in the fullness of time it dutifully dropped through the letterbox. And I watched it. And, unsurprisingly, I loved it. Using slow-motion and time-lapse cinematography, Reggio filmed various parts of the US countryside, such as the Canyonlands National Park, as well as various cities – including footage taken on the streets of pedestrians, some of whom actually take notice of the camera. Over it all is a repetitive, but quite appropriate, electronic score by Philip Glass. It’s an easier watch than any of Benning’s films – despite the lack of voice-over, there’s a plain narrative to follow, and the visuals are, of course, quite stunning. The rental service screwed up when sending me this – although I suppose it might have been me – and a Blu-ray arrived rather than a DVD. So I got to see it in even better quality than expected. And it came with the sequel Powaqqatsi – see below.
The Aviator’s Wife, Éric Rohmer (1981, France). I do like Rohmer’s films – at least those I’ve seen – albeit some more than others. This one strikes me as… middling Rohmer. A young man is afraid his girlfriend is still seeing her ex-, an airline pilot, and witnesses the pilot leaving her flat. Later, he spots the pilot with another woman, and decides to follow the pair. In a park, he bumps into a fifteen-year-old girl, who quizzes him on his behaviour, and the decides to help him trail the couple. Which is what they do. Around Paris. And the two of them discuss what the couple they are trailing might be up to. It’s a typical dialogue-heavy and leadenly-paced Rohmer film, and despite its plot and cast, it’s unfortunately somewhat light on charm.
Falstaff – Chimes at Midnight*, Orson Welles (1966, Spain). Welles has done quite well on the 1001 Movies You Must See Before You Die list, with half a dozen – that’s around half of his feature film output – on the list. Three of them I’d seen many years before, one I watched and liked so much I bought the Criterion Blu-ray… and now there’s the only Shakespeare film of his that makes the list. And I hadn’t really expected to like it as much as I did. Possibly because I hadn’t been that impressed by The Immortal Story, seen only a few weeks before. And, it has to be said, Shakespeare is hard to do well… and Welles not only plays the title role but created his story, and dialogue, from Falstaff’s appearances in various of Shakespeare’s plays. And yet… it works really well. It doesn’t much feel like a Shakespeare play, despite the Shakespearean dialogue – and the scenes depicting the Battle of Shrewsbury are surprisingly brutal and effective. Welles’s make-up, to be fair, does appear a little over-done, much as it did in The Immortal Story, but it’s only noticeable in some of the scenes. I am not really a fan of Shakespeare’s plays, and watching the BBC adaptations was more prompted more by a desire to see what they were like, and I’ve never really found myself all that enamoured of the various film adaptations I’ve seen – such as those by Baz Luhrmann, Kenneth Branagh, etc – but I’ve seen two since I’ve been working my way through the 1001 Movies You Must See Before You Die list, and was somewhat surprised to discover they’re both very good – this one and Laurence Oliver’s Henry V. Go figure.
Powaqqatsi, Godfrey Reggio (1988, USA). This is the second of three films – the third, Naqoyqatsi, didn’t appear until 2002 – and where the first film’s title translates as “life out of balance”, Powaqqatsi means “life in transition”. It focuses on the developing world, not the US, but follows the same pattern. This time, however, the Philip Glass score is much more intrusive, and seems to work to work against the visuals rather than with them. It don’t think it’s as successful a film as the first, although the cinematography is just as good. But now, I want the entire trilogy – apparently there’s a Criterion Collection Blu-ray trilogy, so that’s gone on the wants list (for some reason the Region B release, by Arrow Academy, only contains the first two films).
1001 Movies You Must See Before You Die count: 724
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