I managed to cross a few films off the 1001 Movies You Must See Before You Die list this time, although two of them were US films by directors whose works I don’t especially like – and no, I don’t understand how the films made the list in the first place. This post also marks my first Singaporean film, wihch I stumbled across on eBay and which seemed intriguing enough to buy. The seller contacted me to point out the DVD was region 3, but I replied I’d bought a multi-region Blu-ray specifically because I want to watch DVDs and Blu-rays from other regions. This post has my first Jordanian film too – although I’m fairly sure this is a Jordanian film for the international market, rather than the Arabic-language market.
The Color Purple*, Steven Spielberg (1985, USA). I’m not a big Spielberg fan – in fact, I’m not a fan of his films at all, especially not of his push-button emotional content films – and that’s what The Color Purple is (despite my dislike of US spelling, it seems to fit in this case). I’ve not read the novel by Alice Walker but I fervently hope it’s not as bad as this film, which is an over-sentimental drama covering an African-American family over several decades from the 1920s onward. Whoopi Goldberg plays a poor and uneducated woman (when she’s an adult) in rural Georgia. She is married off to Danny Glover, even though he had turned up at the house intending to marry another sister. That sister runs away, and goes to “Africa” (I don’t recall the actual African nation being named) with a missionary couple. In the novel, at least according to Wikipedia’s plot synopsis, she ends up marrying the missionary husband after his wife dies; in the film, she marries a young man she meets in the “African” village in which she is living. Goldberg, meanwhile, is abused by Glover over many years, decades even. There are also some scenes at a bar, where a musical number is performed by the fallen wife of the local preacher… leading to a frankly ludicrous scene later where said fallen wife hears the choir singing and marches around a mile, singing all the while, and being heard by the congregation as she marches. I really didn’t like this film. It was manipulative to a degree I’ve not seen in a Spielberg film before, and he’s entirely about manipulating his audience. I also fail to understand why it made the 1001 Movies To See Before You Die list instead of like, say, Black Girl, a Senegalese film which makes a similar point albeit much more honestly. Still, I guess there was a lot of money pumped into The Color Purple…
Theeb, Naji Abu Nowar (2014, Jordan). I’ve watched a number of Arabic-language films, but they’ve mostly been ones aimed at non-Arabic audiences – not badly-acted Egyptian dramas, in other words. Even the films of Elia Sulieman, a favourite director, are not really made for a Palestinian audience, although they are very Palestinian films. Amd while I’m all too happy to watch such films, it not the same as watching a Bollywood movie, which is a movie designed to appeal to its home audience. It seems to me, though I have no proof, that Theeb, a film made in Jordan by a Jordanian/British director, is a film designed more to appeal to an international audience than a Jordanian audience. And as a big fan of non-Anglophone cinema I have no real problem with that, but as someone who dislikes the concept of “world cinema” I’m less approving. Theeb is a good film, of that there’s no doubt. It’s an excellent historical drama, set in Jordan during WWI, and a clever character study of its central character, a young boy caught up in events he does not understand. But different countries have their different populist cinemas – I’ve mentioned Nigeria’s Nollywood before, and the difficulty of finding its popular films with English subtitles – but what I fail to understand is why it is assumed populist non-Anglophone cinema cannot find an Anglophone audience and only non-Anglophone auteur films are worth releasing in English-language markets. True, the English movie market is pretty much 99% Hollywood, and they can’t even work out how to handle Spanish-speaking audiences, which is a huge part of the US population. But in the UK, we have Welsh and Cornish and the two varieties of Gaelic, and TV channels and programmes and films for each, albeit small scale. And, personally, most of my favourite directors do not make English language films, so I have to watch with subtitles. In fact, subtitles are a passport to a world of cinema and only a fool would ignore them. Subtitles are good. And so is this Theeb.
Hannah and Her Sisters*, Woody Allen (1986, USA). I really don’t understand the appeal of Woody Allen’s films, and I certainly don’t understand why he has six movies on the 1001 Movies You Must See Before You die list, since none of them to my mind are all that good. Hannah and Her Sisters fools the viewer initially because it opens with a voice-over by Michael Caine, and no one on-screen resembles Allen. But then he appears, and it all begins to slide downhill. Caine is married to Hannah, but fancies one of her sisters. Allen is an ex-husband of another sister, but once went on a date with yet another sister which ended badly. And, oh god, this sort of middle-class American bed-hopping drawing-room farce is tedious at best and embarrassing at worst. Allen at least manages not to entirely embarrass his viewers or his cast, but it’s a close-run thing. Caine does not do needy very well, and the film pretty much hinges on his needy desire for sister Barbara Hershey, Max von Sydow’s wife. I watched this film so I could cross it off the list. I only have one more Allen film left on the list to watch – Crimes and Misdemeanours – and then I never have to watch another Woody Allen film ever again.
Manila in the Claws of Light*, Lino Brocka (1975, Philippines). When I set out to watch all the films on 1001 Movies You Must See Before You die list, copies of this film were almost impossible to find. But then Martin Scorsese’s World Cinema Project went and restored it – yay for Scorsese – and then the BFI released it in the UK on dual format – yay for the BFI. And… it’s good, good enough to make want to watch more films by Brocka. Fortunately, as the DVD cover art indicates, there is another film bundled with Manila in the Claws of Light, Insiang. But my chances of finding any further Brocka movies is, I suspect, extremely remote. Anyway, Manila in the Claws of Light… A young man from the provinces (well, an island other than Luzon – the Philippines is an archipelago, after all) moves to Manila to track down his girlfriend, who had left earlier after being promised employment in the capital by a visiting woman promising jobs there for young women (yes, yes, it’s pretty obvious to us, but these are unsophisticated probincianos). The guy ends up working on a building site as casual labour, where he learns how they are treated, how their wages are garnished, and what life is like at the bottom of the heap. But he spends all his spare time looking for his girlfriend. And eventually finds her. Which is where, of course, things start to go wrong. The film opens in black-and-white, and the print quality is not especially good, which I thought odd for 1975… but then as the opening credits end it changes to colour and the print quality greatly improves. I’m not sure this adds anything to the film, or why Brocka chose to do it. Manila in the Claws of Light treads a fine line between melodrama and social realism, but manages not to fall off in either direction. Brocka is apparently “one of the most influential and significant Filipino filmmakers” (according to Wikipedia), and while I’ve known of Pinoy cinema for many years – there used to be a column in Gulf News’ weekly magazine dedicated to it; and one to Lollywood too – I’ll admit I didn’t take much notice of the directors’ names (although such columns tend to focus on the stars anyway), but even in my years of following “world cinema” (ugh) I’d not come across Brocka’s name before. Mostly my fault, yes, but given how so many directors from other countries are lauded in Anglophone cinema – Tarkovsky, Ray, Kiarostami, Kurosawa, Almodóvar, Tati, Fassbinder, Bergman, etc. – I’m surprised I’d not stumbled across Brocka’s name before. But then, as mentioned previously, Manila in the Claws of Light was, until this edition appeared, extremely hard to find. Perhaps the appearance of Two Films by Lino Brocka means more films by him, and other Filipino/Filipina directors, are going to be released in the Anglophone world. I hope so.
Girl Gets Girl, Sonia Sebastián (2015, Spain). I forget where I came across this – probably a trailer on another rental DVD – and decided to add it to my rental list. Bur I thoroughly enjoyed it. The film was almost like someone trying to out-Almodóvar Almodóvar himself. Ten years after running away from a wedding, Inés returns to Spain from Miami, just when her ex-girlfriend’s ten-year-old daughter is have a “first period party”. There then follows a series of mildly comic and well-written scenes in which each of the characters at the party try to get their own way. A previous girlfriend, for exmaple, turns up with a dodgy guy as her “boyfriend”. and he tries to drug her drink but the wrong woman drinks it. One of the two mothers of the young girl is desperately trying to hide her sexuality from her mother. The other mother thinks Inés still loves her, but Inés is basically just hiding from some enemies she made in Miami, And not just enenies, as one is an editor who fell in love with her and follows her to Spain to win her heart and/or get back her money. The script is witty, the characters are likeable, the plot is, despite being a but obvious in places, is clever. It’s by no means great cinema, but it is a fun film that entertains without annoying or insulting the viewer’s intelligence. Oh, and it doesn’t just pass the Bechdel Test, it comes top of the class. Worth seeing.
In the Room, Eric Khoo (2015, Singapore). As mentioned above, I stumbled across this on eBay and decided to take a punt on it (it’s not actually available on Amazon). It was a good call. The title refers to a room in the Hotel Singapura (an alternative title for the film) in which events happen over several decades. The story opens in 1942, in black-and-white, with a Brit and a Singaporean lamenting the loss of the Brit’s livelihood – a plantation – but also quite clearly about the love affair between the two men. Another story is about a madam who trains young women to be prostitutes in the early 1960s in the room, and in this sequence the production design and colour scheme is appropriate to the decade. There’s a rock band who occupy the room in the 1970s… and so on. There’s a variety of styles on display, all of which seem appropriate to the decade being depicted, but it does mean In the Room doesn’t feel like it presents a singular vision. Sometimes it feels like Wong Kar-Wai’s In the Mood for Love, other times it feels a bit like Almodóvar. Or maybe not. It’s not the most original plot on the planet – I can think of at least two bad films that have the same premise – and Khoo’s decision to give each sequence an appropriate flavour does tend to dilute his vision. But I still thought this was rather good, and I’m glad I took a chance on it.
1001 Movies You Must See Before You Die count: 867