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Moving pictures 2018, #41

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I have seen other films by all the directors in the post, except for the last. Some, of course, more than others – Lang is my 8th most-watched director, with 25 movies. (Alfred Hitchcock, unsurprisingly, occupies the top spot.)

House by the River, Fritz Lang (1950, USA) Unsuccessful author Louis Hayward is left on his own with attractive maid Dorothy Patrick. Enraged by his latest rejection, and drunk, he sexually assaults Patrick, and strangles her when she resists. His brother, Lee Bowman, then turns up, and Hayward persuades him to help him dispose of the body – in the river by, er, the house. Hayward then puts it about that Patrick has run away with clothing and jewellery belonging to Hayward’s wife. But then Bowman learns that the meal sack in which they hid the body had his name on it. And the body has re-appeared. Hayward claims Bowman was the murderer. And it looks like he might go down for it. Lang made some classic noir films during the 1940s and 1950s, but this isn’t generally reckoned one of them. It apparently flopped on its release, but time has been kind to it: the starkly-lit studio sets, indoors and outdoors, look really quite effective, and if the script and acting is perhaps a bit overwrought there are some really effective scenes. The scene where Hayward tries to recover Patrick’s body from the river is especially good. Despite that, it’s probably one for fans – of Lang or noir.

Space Amoeba, Ishiro Honda (1970, Japan). The original Japanese title of this film translates as “Gezora, Ganimes, and Kamoebas: Decisive Battle! Giant Monsters of the South Seas”, which, er, pretty much describes the entire plot. Admittedly, it doesn’t quite roll off the tongue as readily as Space Amoeba, or the film’s US title, Yog-Monster from Space (although what a “yog-monster” is, is anybody’s guess). Anyway, space probe on its way to Jupiter encounters a strange energy alien, which takes over the probe and sends it back to Earth. It crashes in the Pacific, and the alien takes over the body of a cuttlefish and grows it to giant-size. Meanwhile, a group of photographers and developers have travelled to Selgio Island to explore the sight of a future resort. The giant cuttlefish attacks them, and when they defeat it, the alien turns into a giant stone crab, and then a giant mata mata. So, lots of monster fights. And, er, that’s about it. There are a few character arcs and stuff, but let’s not get carried away – kaiju films are all about the monsters, after all. Strangely, the lead characters seemed to have been dubbed by Australian actors.

Ali and Nino, Asif Kapadia (2016, UK). I learnt of this story watching a documentary about Baku (see here), but at the time thought it was only a 1937 novel. But it was apparently adapted two years ago by a British director, with a Palestinian playing the Azerbaijani and a Spaniard playing the Georgian. Oh well. Casting aside, the film makes a good fist of the story and even manages to present Baku as it was in the first two decades of the twentieth century. Both Ali and Nino are from well-off families, aristocracy if not minor royalty. A rival for Nino’s affections kidnaps her, but Ali rescues her. But the rival dies during the rescue, so Ali has to hide out in the hills. Meanwhile, WWI breaks out. A friend re-unites the two and they marry in the hills. The Russian Revolution takes place. Post-WWI, Azerbaijan becomes independent. The couple return to Baku and Ali is made a government minister. But then the Russians invade and Azerbaijan becomes a vassal state. Ali and Nino flee. Ali and Nino is all a bit, well, Dr Zhivago, with a bit of Lawrence of Arabia mixed in. It’s clear where Kapadia’s inspirations lay – and it’s no bad thing, as those are both excellent films. The two leads are, perhaps, a little bland, although Mandy Patinkin, one of only two faces I recognised in the cast, makes a good Grand Duke Kipiani, Nino’s father. Kapadia at least does a better job of making his locations look like Baku of the 1930s than Lean did making Spain look like Russia (athough both are good-looking films). Kapadia is probably better-known for documentaries made from found footage, but if this, his feature film, is any indication he has a good career ahead of him in that area too.

Through the Olive Trees*, Abbas Kiarostami (194, Iran). This is probably Kiarostami’s most highly-regarded film and yet, despite the fact pretty much his entire oeuvre is available on DVD, this one film isn’t. Every other film he made: available on DVD, probably soon to appear on Blu-ray. Through the Olive Trees: nope. I can only hope that when that long outstanding Kiarostami collection appears on Blu-ray, it includes this. Through the Olive Trees is about a director making a film in a village in Iran that recently suffered a bad earthquake. I can’t think of another film director whose movies were so consistently meta – whether it was the pull back to the crew at the end of Taste of Cherry, or the plot of Close-Up (see here), which consists of a man pretending to be rival director Mohsen Makhmalbaf. In Through the Olive Trees, two of the locals the director has cast have a bad relationship: he asked for her hand in marriage but was rejected by her mother. Acting in the film has brought the two together, and while he still burns a torch for her and is incensed by his rejection, she doesn’t seem especially concerned and is happy to accept her mother’s decision. But the two start to confuse the parts they’re playing and their real lives – I believe most of the cast were amateurs from the area where the film was made, and many of the events in the film happened in real life. In and around this, the director has to cope with making a film far from Tehran, with only local support, living in tents and using a much-reduced crew. This hasn’t overtaken Where the Wind Will Carry Us as my favourite Kiarostami, and I think I like Close-up slightly more as well, but it’s certainly in the top five. Excellent stuff.

The Warrior and the Wolf, Tian Zhuangzhuang (2009, China). I watched this twice before returning it to Cinema Paradiso and I’m still not sure sure what it’s about. I think I know what it thinks it’s about, but that’s not the same as what appears on the screen. It receive some stick because it’s a Chinese historical film starring a Japanese man and a Hawaiian woman in the lead roles – cf Zhang Yimou for casting Matt Damon in The Great Wall. The Warrior and the Wolf opens with on-screen text explaining that General Zhang guards the northern border, but during the winter months his army returns home. When Zhang is captured by barbarians, a new recruit, Lu, frees him. Zhang leaves Lu in charge and heads home. Winter arrives and Lu leads the garrison home, but they end up trapped in a village by a snowstorm. Lu takes a village woman for himself, She tells him that sex with outsiders turns the villagers into wolves. When the soldiers leave, they are attacked by wolves. This is definitely a film that’s all about the visuals, not to mention the sex scenes between Lu and the village woman. Occasional screen-fulls of narrative text, however, fail to bed the story into the visuals, so the end result is a film that looks gorgeous but is as dull as dishwater. I’ve now seen three films by Tian, and he definitely seems stronger on cinematography than narrative. The Horse Thief (see here) had the most interesting setting, but The Warrior and the Wolf doesn’t seem all that much different to the current crop of wu xia and historical epic films flooding out of China.

A Fantastic Woman, Sebastián Lelio (2017, Chile) This is one of those films where the plot is easy to describe. That, however, is the only thing that’s “easy” about it. A man in a relationship with a transgender woman, Marina, has a seizure one night. She manages to get him to the hospital, although not without him falling downstairs at one point. Due to the injuries sustained from the fall, the police are called. The man dies of an aneurysm. The police seemed happy Marina was not responsible for the death, but they are afraid she might have been a victim herself in the relationship. So while trying to manage her grief, she’s having to deal with an officious police officer intent on digging into her private life. Then her late lover’s transphobic ex-wife turns up. And she wants everything back. Like the car. The son moves into the flat and throws Marina out. He even keeps the dog, which was given to Marina. And the family refuses to allow her to mourn her lover’s death – they ban her from the funeral, and the son and his mates physically assault her when she turns up. The one thing I don’t understand is why the ex-wife has such powers. Her relationship with the deceased ended when she divorced him. It’s implied Marina’s relationship was relatively recent, but even so she lived with him, they were a couple. A Fantastic Woman won the Oscar for Best Foreign Language Film, and it’s certainly a good film. Its star, Daniela Vega, is excellent in the title role. But it’s also a film that makes you angry with the injustices heaped on its title character. Obviously, they’re making a point – and the success of the movie shows the point is getting across to some people. But the fact it has to be made in the first place… and the treatment meted out by transphobes… It’s disgusting, makes you ashamed to be human. An excellent film, definitely worth seeing.

1001 Movies You Must See Before You Die count: 925

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2 thoughts on “Moving pictures 2018, #41

  1. Space Ameobea is part of the Amazon Prime video streaming service.

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