The USA has crept back into this post, although I think I’m currently watching on average more non-Anglophone movies than Anglophone ones. Mind you, I did recently re-organise my LoveFilm rental lists, so I now receive two non-Anglophone movies and one Anglophone movies each week.
Midnight in Paris, Woody Allen (2011, USA). I am really not a fan of Woody Allen and tend to avoid his films as much as possible. But David Tallerman spoke approvingly of this one, it was free to watch on Amazon Prime, and it didn’t actually star Allen himself… Also, the story sounded sort of interesting. Owen Wilson – who turned out to be Woody Allen in all but name – is a successful Hollywood scriptwriter holidaying in Paris with his fiancée and future in-laws. They don’t seem well matched – he to his fiancée or to his in-laws. While wandering the streets of Paris one night, an old-fashioned car stops and offers him a lift. He’s taken to a party, where he meets F Scott and Zelda Fitzgerald and Cole Porter. And from the party, they move onto a bar, where he meets Ernest Hemingway… and so on, to Gertrude Stein, Pabo Picasso, Man, Ray, Luis Buñuel, Salvador Dali… And the next morning, he’s back in twenty-first century Paris. And so it goes: he spends his nights with the literati of 1920s Paris, falls in love with a young woman, and slowly realises his fiancée is not for him. But neither is the woman from the 1920s, as the two of them travel back to 1890s Paris and she decides to stay there. Wilson is Allen in all but appearance, and he’s one of the things I find most annoying about Allen’s films. Michael Sheen plays a hugely irritating and patronising friend, and the fact fiancée Rachel McAdams likes him tells you how unsuitable she is for Wilson. Midnight in Paris is by no means a subtle film. The big names of the 1920s and 1890s who make an appearance are little more than caricatures, and the whole edifice is plainly meant to be carried by Allen Wilson. It’s entertaining enough, I guess, and the central conceit has its charm. But it hasn’t caused me to reassess my opinion of Woody Allen’s films.
The King’s Speech*, Tom Hooper (2010, UK). I’d managed to avoid watching this, despite the fact it was on the 1001 Movies You Must See Before You Die list, because I really don’t want to watch films about the British royal family which don’t treat them as anything other than the historical embarrassment they are. (I have nothing against the Windsors per se, but “divine right” is primitive nonsense and the whole concept of royalty has no place in the modern world.) Anyway, The King’s Speech popped up for free on Amazon Prime, so I went for it since it was going to cost me nowt. And… it was entirely as I expected: a super-entitled twonk seeks help for his speech impediment, and ends up turning to an untrained Australian therapist with a pet theory. Which apparently works. One of the conditions of the treatment is that the therapist treats his patient as an equal and vice versa – but King George VI (as will be) seems to have real trouble with that. He hides it well, but he’s better than everyone else on the planet because’s a King Emperor. Of course. For all that, the film was pretty innocuous. I wasn’t entirely convinced by the mise en scène, and while the movie had a first-rate cast most of them looked they were going through the motions. How it ended up on 1001 Movies You Must See Before You Die list is a complete mystery, as it’s little more than a competent historical drama about an uninteresting topic. Meh.
So Close to Life, Ingmar Bergman (1958, Sweden). Three women are in a ward at a Swedish hospital to deliver babies. One is in a loveless marriage, another isn’t ready for a child, and the third is eagerly awaiting motherhood. Bergman keeps the story confined to the ward – and a few other rooms in the hospital – but it’s all about the three women, and their visiting partners; and fortunately Bergman’s cast have chops to spare in delivering the story. In fact, the three female leads – Eva Dahlbeck, Ingrid Thulin and Bibi Andersson – all won the Best Actress Award at Cannes that year; Bergman walked away with the Best Director Award. So despite being his first work after the critically-acclaimed The Seventh Seal and Wild Strawberries, released the previous year and still considered among his best works (and possibly the two of the best-known films made by Bergman), So Close to Life manages not to embarrass. It has that theatrical atmosphere many of his films never quite managed to avoid, although in this case it’s heightened by the restricted sets. This sort of film-making does throw a lot of onto the cast’s shoulders, but one thing youn can say about Bergman’s films is that he was never let down by his actors. I can’t say So Close to Life was especially memorable, but it was a superior piece of intense and up-close drama, and certainly worth watching.
Stranger than Paradise*, Jim Jarmusch (1984, USA). I think this is the last of the Jarmusch’s on the 1001 Movies You Must See Before You Die list, which is a relief. Perhaps I saw his films in the wrong place at the wrong time, ie, not the USA in the mid-1980s. Because I don’t get the appeal at all. In this one, which in parts feels like a complete rip-off of Cassavetes, a pair of musicians play lowlifes in New York who befriend a young Hungarian woman, and later drive to Cleveland to visit her after she has moved there to be with her mother. And, er, that’s it. Oh, they drive to Florida as well. But it’s basically jazz musician John Lurie and Sonic Youth drummer Richard Edson, who look confusingly alike, ad libbing at each other. The cinematography is black and white, and pleasingly clean; but I can’t see the appeal of the supposed plot, which I have seen described as both surreal and minimalist – and while I’m in no way chained to the necessity of plot (I love video installations, for a start), I think a feature film has to offer something more if it’s going to skimp on plot – and Stranger than Paradise doesn’t really. Some similar films shift their emphasis to their soundtrack, and use that to carry the film – but Stranger than Paradise didn’t. It just felt meandering, dull, its appearance on the 1001 Movies You Must See Before Yoyu Die list is baffling, and Jarmusch’s appeal still escapes me.
The Shop on the High Street*, Ján Kadár & Elmar Klos (1965, Slovakia). In occupied Slovakia, a man is told to take over a sewing shop owned by a senile old Jewish woman, because Jews cannot own property or businesses. But the old woman’s shop has been doing badly for years and is only kept afloat by donations. The Jewish community persuade the man to keep the shop going and they will pay him a weekly payment. So he stays on… but the old woman has got it into her head he’s her nephew and he’s only there to help her out, and he doesn’t disabuse her. But then authorities round up all the town’s Jewish population, and the man can’t decide if he should turn in the old woman… There’s nothing particularly special about The Shop on the High Street. It’s a blackly comic film was about one of WWII’s lesser known aspects, played well by its cast and well-shot by its directors. Its story, however, is one that certainly should not be forgotten – now more than ever. How long in Trump’s USA before businesses owned by Muslims are handed to “Christians”? (I use quote marks because there’s fuck-all that’s Christian about most of the stuff done by the US Christian Right.) Anyway, Second Run have an excellent eye for good films – I don’t think they’ve released a dud yet – and this is no exception. Definitely worth seeing.
Les cowboys, Thomas Bidegain (2015, France). An odd film, this. I wasn’t entirely sure how to take it, and as it progressed I found myself changing my perspective on its central premise. In the 1990s, a French family at a local country & western festival discover their teenage daughter has disappeared. They spend several days searching for her, before receiving a letter from her: she has run away with her Muslim boyfriend and plans to live in Pakistan with him. The father is convinced his daughter was kidnapped by white slavers, and spends years tracking down clues to her location. To no avail. It costs him his life in a traffic accident. The son takes over, and even ends up as a relief worker in Pakistan, where he tracks down hs sister’s husband. Except they’re not married anymore, and in a struggle, the son accidentally shoots the husband. He is caught by the police and imprisoned. The French authorities arrange for his release. He buys the release of the dead man’s wife and takes her back to France with him. She would have been killed had she remained in Pakistan, but she’s an outsider in France – indeed, she’s the subject of racial abuse during a visit to the country & western festival. The son marries her, they settle down and have a kid… and then he hears from someone who has seen his missing sister… A good film that manages to remain objective, despite its emotive content, but allows the viewer to see that the behaviour of the characters is often not acceptable, no matter what provocation. Worth seeing.
1001 Movies You Must See Before You Die count: 826