Some good directors in this post, ones I should watch more films by… although I’ve seen all of Martel’s movies except her most recent, and Solás, who made twenty-four films… well, few of his are available on DVD in the UK – and I think I have all the ones that are.
The Fallen Idol, Carol Reed (1948, UK). Reed, of course, is best known for The Third Man, but he made 29 feature films, and won the Oscar for Best Director for Oliver! in 1968. The Fallen Idol is an accomplished late 1940s thriller, more so because it is told chiefly from the point of view of a young boy. Philippe is the young son of the French ambassador to London. He adores his father’s butler, played by Ralph Richardson, who tells him stories of his adventures in Africa. But when Philippe accidentally witnesses a meeting between Richardson and his mistress – identified to the boy as Richardson’s niece – and then starts spending time with them, and the news filters back to Richardson’s wife… Richardson and his wife quarrel and she falls down the stairs and dies. Philippe witnessed the start of the fight, but not the all-important part where Richardson walked away and the wife slipped and fell. Philippe’s refusal to speak ill of Richardson actually hampers the police investigation, who begin to suspect Richardson of murder. It’s all very cleverly done, but the fact the viewer sees the accident happen does make it all feel a bit like an episode of Columbo. The boy who plays Philippe is especially good, although the career promised by the film never materialised. The Fallen Idol doesn’t have the bite of other Reed films (um, well, not including Oliver!), but is a good example of a tightly-plotted well-made thriller. If only good films were ever made, it would be considered a mediocre effort; but compared against the crap that’s usually produced in any given year, it stands out as a solid piece of work. Worth seeing.
The Holy Girl, Lucrecia Martel (2004, Argentina). Martel has to date made only four feature films, and I have so far seen all but her most recent, last year’s Zama. I would put her in the top twenty-five directors working in film today. The Holy Girl, or La niña santa, is perhaps not the best of her films, but it’s certainly the one that’s most characteristically hers in terms of technique. Martel likes to film as if she were a voyeur, through doorways and windows, more fly-on-the-wall than actually staged, and in this film there is plenty of that in evidence. The story concerns an Argentine schoolgirl who, after being frottaged by a doctor staying at her mother’s hotel for a medical conference, decides it is her holy mission to save him. But all that happens in and around the interaction of the main characters – the girl, her friends, her mother, the doctors at the conference… To say any more would be a spoiler. Martel has a singular approach to drama, and while it’s tempting to compare her to Claudia Llosa (a Peruvian), it’s an unfair comparison: Martel is the more technically accomplished film-maker, but Llosa’s films just have the edge for me (though Llosa’s films are harder to find in the UK). Despite that, Martel seems to have more of a career – Llosa’s last film was 2014, and there’s no news of anything new from her – and she’s an excellent director, definitely one whose career is worth following. Recommended.
Beloved, Humberto Solás (1985, Cuba). I foolishly didn’t buy this box set of seven Cuban films when it was available, and once it was deleted the price shot up to around the £75 mark (and I see there’s a copy on Amazon going for £150 now). Fortunately, I stumbled across a much cheaper copy on eBay, and when it arrived it was still shrinkwrapped. Result. The first film I chose to watch from the set was Cecelia… but the disc labelled that proved to actually contain Beloved. And vice versa. Oops. All the others could be mixed up too, I’ve not checked. But at least the films are there. I’m not the first to remark on the similarity between Solás’s films and Visconti’s. Both have made lush period dramas, with mostly static cameras, but with lots of close-ups and reaction shots, and the occasional painterly mid-range shot. In Beloved (AKA Amada), which is set in 1914, a woman, Amada, and her husband, live with her blind mother. He has a mistress, and is about to embark on a career in local politics (which the first scene of the film describes as extremely corrupt). Amada is in love with her cousin, and he is in love with her. But she refuses to leave her husband because she would be branded an adulteress. Meanwhile, the husband has been working on the maid to get her to persuade the mother to sell the house and other properties. As the title indicates, the film is about Amada, a prisoner in her marriage, increasingly held prisoner by the maid, who won’t let her see her mother… The dialogue is pretty intense, with characters often lecturing each other, but that’s hardly unexpected in a film adapted from an early twentieth-century novel – in this case Miguel de Carrión’s 1929 novel La esfinge (The Sphinx). It’s all pretty glum stuff, as Amada’s situation deteriorates and echoes that of the country. I suspect this film would look very nice indeed if restored, but the transfer in the box set is not brilliant. The dark areas frequently overwhelm the screen and the muted colour palette doesn’t work so well on a television screen – even if it does successfully evoke the period. Still, a good film, especially if you like period dramas.
Cecilia, Humberto Solás (1982, Cuba). An adaptation of an extremely important Cuban novel, Cecilia Valdés by Cirilo Villaverde, published in 1839, and apparently released as a six-hour TV mini-series, a four-hour domestic feature film, and a two-hour international feature film. It’s the last which appears in the Viva Cuba box set. In many ways, I mentioned above that Solás’s work reminds me of Visconti’s, and Cecilia certainly put me very much in mind of The Innocent. It’s also an historical piece, about an important part of Cuban history, but also about the role of women – and slaves, and mixed-race people – in Cuban society, at a time between the Haiti revolution and Cuban independence. I tried to think of a film that covered a similarly shameful period in UK history… and failed. There are shameful episodes aplenty in British history, but the British public is more likely to get in an uproar when a US film completely ignores the British contribution to something historically important. I suppose the same is equally true of the US, which still has plenty to be shameful about. Having said that, Hollywood has been so creative with history over the decades that most people probably think historical films aren’t necessarily true. Fake history! As the brainless orange-faced incumbent in the White House would no doubt say. On the other hand, Cecilia is adapted from a nineteenth-century novel, so some element of artistic licence is baked in. And Solás apparently took some liberties with the plot. Anyway, like Amada, this is an excellent period drama, and reportedly the most expensive film made at that time.
The Cloverfield Paradox, Julius Onah (2018, USA). I don’t know what possessed me to watch this, a crappy sf film badly shoe-horned into the Cloverfield trilogy, which is not actually a trilogy just a dumb JJ Abrams dumb marketing gimmick… but I suppose the cast – and it’s a generally good cast – might have suggested it couldn’t be as bad as most reviews claimed. Sadly, those reviews – and I find most film reviews suspiciously positive about the even shittiest output of Hollywood – were closer to the mark. The Cloverfield Paradox is a perfect example of why I have a low opinion of sf cinema. There have been only a handful of sf films made in the last 100 years which are any good, and that’s a much lower hit-rate than pretty much every other cinematic genre (except maybe the American coming-of-age movie, which has yet to produce a single good film). In The Cloverfield Paradox, an international team of astronauts are experimenting with a particle accelerator aboard a purpose-built space station. Because apparently accelerating a particle will solve the Earth’s energy crisis. Or something. Given the space station apparently has artificial gravity, you’d have thought solving that problem would probably help with the energy crisis. Unfortunately, it seems accelerating a particle actually shifts the space station into an alternate reality. (Which explains much of recent history post-CERN here on Earth.) The astronauts figure this out because they realise they are upside-down, and so they must be on the opposite side of the Sun to the Earth. WTF. Hollywood science: like science, but complete bullshit. Meanwhile, giant monsters have been appearing on Earth. Because. It’s all completely meaningless bollocks, which is a shame because it has a good cast – not just Gugu Mbatha-Raw, who was unknown to me, but also Daniel Brühl, Chris O’Dowd, Elizabeth Debicki and Ziyi Zhang. Avoid.
The Go Master, Tian Zhuangzhuang (2006, China). This is pretty much a straight-up biopic of famous Chinese Go master Wu Qingyuan, famous in Japan as Go Seigen. Born in China, Wu moves to Japan as a teenager in order to pursue a career playing Go. But when the Sino-Japanese War breaks out in the 1930s, he decides to remain. At intervals, displays text explaining the events which lead to the life-changing decisions Wu makes, but the text starts in third-person before abruptly shifting to first-person, which is a little odd. The film also makes little effort to introduce the game of Go, and after watching it I’m no clearer about how the game is played than I was before. It does make Wu’s skill – he’s reckoned the greatest twentieth-century player of the game – something you have to take on faith. Like other of Tian’s films, the cinematography is excellent, and the acting top-notch. The pace is slow, but at 104 minutes this is not a long film. I suspect it will appeal more to those who understand, or are interested in, Go. I’ve yet to be convinced by Tian’s films yet. They look gorgeous, but there never seems to be much going on in them. I’ve to date seen four, including this one, of his eleven feature films. I’d like to see more, but there are plenty of Fifth and Sixth Generation directors whose films are available in the UK, so perhaps I should work my way through those first…
1001 Movies You Must See Before You Die count: 931
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