Faim/Hunger

The two films for this go around are two that tie-in in juxtapatory ways. The Oscar nomintated animated short from Canada: Faim, and the freshman film by acclaimed director, Steve McQueen, Hunger.

Faim is, of course, French for hunger, so the titles themselves link the two in this pairing. Faim was one of the first, if not the first, computer-generated animated films in history. Created in 1971, it details the grotesqueries of capitalism and greed depicted in a man and his insatiable appetite that causes him to eat and eat, and grow in size to a point where his fever dream, toward the end, finishes with skinny international kids devour his fatty body in a feeding frenzy. This French-Canadian short echoes the sentiment produced by the incomparable Jacques Tati. Greed, waste, technology, and machinery are things to be feared, but ultimately, help us get fat off the benefits in the west, where the east and other lower GDP countries. The film chronicles the dangers of technologies, capitalism, and greed in such a way that it's utterly repulsive. The churning, the inside out and contortion of the main character, the transformations of the main character into machinery to get him to his next food fix. The film pre-dates the animation of Mike Judge, but deals with similar "hard-to-watch, but can't peel your eyes away from the action" style. The implications of this short film can be thought about and analyzed for years, and the images and and feelings elicited through viewing can last a lifetime. Faim left me hungry for more.

**

Hunger (2008) was the first full-length feature of lauded artist, and short-film director (at the time) Steve McQueen. His framing and eye for stark, appealing, and even sexual visual imagery is one to be envied. If more filmmakers had his eye, and his penchant for aesthetics, film would be a much more compelling and complex medium. Having said that, I'm still pretty pleased with the progress and mark that film is currently having on society at large. As Eisenstein proved in the 1920s, film can be a way to express political opinions. Hunger depicts the early 1980s hunger strikes in Ireland during a rough period in the in-fighting between Ireland and the U.K. Front and center is the incomparable Michael Fassbender, who underwent a Balesque transformation, dropping a significant amount of weight to appear gaunt and emaciated enough to convincingly portray the real-life Bobby Sands, who died while incarcerated after a 66 day long hunger strike. The film viscerally portrays conditions experienced while in the prison system: the forced beating, rape, baths, hair cuts, the way prisoners received contraband by family members and loved ones, the use of feces and urine as signs of protest, the cohorting among the prisoners. It also reflects the sense of heightened fear among those officers who worked at the jail and their families during a period of unrest and fear of bombings that occurred on a weekly basis.

A striking scene, perhaps the most riveting in the whole movie, involves a minimally cut scene between Bobby and a Catholic priest who is trying to convince Bobby not to do a hunger strike. Although there is very, very little blocking, the dialogue between the two, giving their evidence and rebuttals, really sucks the viewer in. Both offering poignant and important points and counterpoints. It is a verbal chess match, in which Bobby, ultimately, comes out as the victor. Yet, it was just a battle in a series of battles that made up the "war". That scene, although hard to understand with the Irish brogue, is simplistically and beautifully framed. It is perhaps trying to understand what is being said, that causes the viewer to hone in more deeply. McQueen is a master at knowing when to scale back, knowing when to linger. Another generously long scene involves an inmate poking at a fly buzzing in and out of the cell window. The urine pouring out of the cells, although disgusting, is beautiful. The juxtaposition that is laid out time and time again in the film is awe-inspiring to me. The guard in charge of beating the inmates, this sense of hatred is juxtaposed against a wall outside, smoking in the snow. There are little bits of humor that cut through the denseness and seriousness of the subject matter presented in the film. There is sufficient silence that warrants introspection. Perhaps many people might consider the film to be a series of vignettes, but each scene reacts from the last one. Each scene contributes to the great whole. And this film requires contemplation, and re-viewings. It is a movie that I couldn't stop thinking about after I first watched it. I desired to understand more. I wondered if I had the discipline portrayed in the film. I contemplated my own view of the world. I thought about film, and what it could be used for. I thought of the framing, the scenes, the acting. I relished in Fassbender's astounding and dedicated performance. This is not a perfect movie, but it is certainly up there. And for being the freshman film of McQueen, it is remarkable. I would venture to say that not since Citizen Kane has there been a more riveting and impressive first full-length film from a first time director. I recommend this film to anyone, because I feel it's not only enjoyable to watch (even if it isn't enjoyable to watch in parts), but it's also important to view. I love this film!

*****

Neighbors / La Grande Ilusion

After a great many months, I have decided to pick up where I left off. Although I love films and get an enormous amount of joy and satisfaction over watching them and thinking about them, and having seen many films between my last entry and this one, I admit that my writing and criticism skills are rather dull in comparison to myself three years ago, and especially compared to others. Having now a desire to watch and complete these film pairings, and being in a position where I have greater access to the remainder of the films I have chosen, I finally recommence my watching and writing. The short film and feature film on the docket are: Neighbours by McClaren and La Grande Illusion by Jean Renoir. I hope you enjoy!

On the brink of the Vietnam War, and the United States involvement in it, came a stop motion live-action short film by Canadian filmmaker, Norman McClaren entitled Neighbours. A simple premise of “mine” “no. Mine!” “No. Mine!” “NO. Mine! I saw it first!” unfolds into an impressive allegory of the impending wars soon to befall humanity. Many wars sought to assert dominance, and to rape, pillage and plunder natural and other resources for the victor nation’s domestic use since this short was released. The fighting, neither confirms who was right, nor does it improve one’s own status amongst many others. As the two men fight for what they believe is theirs, their modern, sophisticated attire, adorned just right—their hair perfectly coiffed, and their mannerisms perfectly docile and civilized, turns into ripped shards of vestments, and bruised and battered bodies, caked with cuts, made-up in a savage-like fashion, thus confirming that war is ugly. War, as we know is not the way to peace. It destroys us, as it destroyed the two men battling over the dancing flower. The impressive use of stop-motion provides the spectacle for this short film, whose running time is a mere eight minutes and eight seconds (give or take). No doubt this Academy Award nominated live-action short served as inspiration for future auteurs such as Terry Gilliam and Tim Burton. A beautifully shot film, very sixties in aesthetic, but very modern and prescient in presentation provides a contemplative viewer trying to connect the dots and seeing the bigger picture of what McClaren may have been going for. Love thy neighbor as thyself. Love not Hate. Peace not War. Here’s to hoping for a beautiful tomorrow.

***

The first time I watched La Grande Illusion was during my college years in a dank, basement apartment with my good friend who was presenting a film viewing with other Francophiles, such as myself. I immediately fell in love with the film. The first and greatest component of this film that I adore is the movement of the camera. I don't know what it is, but when I see older films, the fluidity and voyeuristic movements of the camera, mixed with the black and white, just cause me to be enamored. Renoir knew the importance of the dolly and of moving to display the action, the different views/perspectives of the players in the scene, and the set pieces, and external shots of vistas. Of note, a scene toward the end where the window is open and as one of the soldiers leave, the camera dollies in to show the stunning view outside. One of Renoir's signatures is exploring social stratification. In this film it is explored among those of similar rank in the armed forces regardless of national loyalty. The social stratification is more overtly displayed in Renoir's Rules of the Game, but the care in which the German officer treats those French officers is extremely touching. Although the French POWs are not treated poorly (as would later be depicted in The Bridge of the River Kwai), they nevertheless, would prefer to be back in France. They attempt many times, unsuccessfully, to escape. Near the end, the French officer who has the greatest rapport with the German officer (because they literally ran in the same social circles and knew some of the same people) offers himself up as the scapegoat, while the other two made their escape and traveled south to get to the neutral country of Switzerland. During this crest of plot development, the French officer is reluctantly shot by the German officer, and subsequently dies, while the other two escape via rope out of the window. The remainder of the film involves the scuffles of the two French escapees, whilst they hide from German troops. Ultimately they encounter a German widower who takes them in and even protects them from being detected. The close quarters causes one of the French escapees (portrayed by French star Jean Gabin) to fall in the with the German cacheuse. When the two French escapees must leave to continue their journey to Switzerland, Gabin's character promises to come back to his newly formed love. As the two are trekking in the thigh deep snow crossing the border, some German soldiers finally catch up with them, but are too late as their enemies have crossed the border. The acting is pretty good, the cinematography is stellar, the message is clear and resonating. Renoir is a magic maker, a real auteur. And this film is another evidence to his genius. Although my writing is quite lacking and I cannot fully express myself on how impactful, touching, and wonderful this film is, I hope this brief synopsis and bits about the beauty of this film will cause those reading to rent it and give it a viewing.

****

Steamboat Willie/ L'Atalante

Films do something to the viewer. They suck them in to their magic and wonderment. They allow them to forget their troubles for a few minutes to a few hours and soak in the retelling of old stories or broadening their horizons with completely inventive and creative stories. The two I have chosen for our viewing pleasure are both very simple and mundane, and yet they both do just that: suck us in.

Steamboat Willie a Disney classic from 1928. Full of music and diegetic sound, which presents itself as music or sound effects that mimic the voices of the various characters and animals. This was revolutionary at the time as no cartoon had done that and Disney, being influenced by the Jazz Singer, was eve more determined to have this cartoon become a sensation. This short presents the first time that Minnie Mouse makes an appearance. If you have never seen this film, you have, no doubt, witnessed several homages of this very recognizable short. What sparked my curiosity was the insane amount of animal cruelty that presents itself, as well as the misogynistic imagery. And I wonder if it was for a point. I wonder if it was a subtle allegory of  Disney's supposed prejudice against black people and/or Jews. The music is fun, and the images are fun, but the full-length fully technicolor films of the 30's would get the world going and set Disney on a trajectory that would make him the most winningest Oscar winner in the award's history. The flaws notwithstanding, this film is of great importance to animation history.

** 1/2

L'Atalante by the innovator Jean Vigo who was taken too soon by tuberculosis, creates a very magical, dreamlike film. No doubt the surrealist movement influenced several of the scenes in the films. As the main character toward the beginning walks along the top of L'Atalante walking against the current direction of the hull is breathtaking a surreal, like the actor was superimposed on a model. The overall feeling of the film is magical. It does dreamlike better than Jean Cocteau. It's ethreal and enthralling. The acting is realistic and not overly dramatized save for a few spots by the husband, and Pere Jules is the type of guffawed French paysan that endears me to French cinema of this epoque (Jean Renoir comes to mind). You don't really mind that there's no real story. Just a man, his new bride, his modest crew sailing down the rivers of France in a honeymoon/work/living quotidian that makes you realize that life isn't mundane at all, but magical. Full of wonder, jealously, occasional strife, love, music, dance, and joy. Truly one of the great gems of 1930's cinema.

****

Next Set

Today we'll be watching a classic, and an unknown film that should be a classic. The Disney short Steamboat Willie by Disney, and the the film L'Atalante by the genius Jean Vigo. Join me won't you?

An Eastern Westerner/ Rango

Although Hollywood had a very successful period where westerns were king, in recent years they've clung on for dear life. Propelled by the success of western feeling films of Eastwood and Tarantino, the Western genre has been building steam, like a locomotive from, well, a western. The genre has its place in film history, but it is not my favorite genre by any means. I have chosen two films that take a very humorous take on the genre, in a very non-tradition road. The silent film An Eastern Westerner starring the often overlooked Harold Lloyd, and the animated film Rango.

An Eastern Westerner starring Harold Lloyd is about an man enjoying the luxuries that the east have to afford. Comfortable in his circumstances, the boy life is thrown topsy-turvy when he is forces out west to live in a seedy commune where his uncle resides. His dress, attitude, and habits throw the people for a loop, and his unwillingness to adapt to his new environment causes frictions with the townspeople especially the sheriff. A man "who owns half the town, and This film is less a cohesive short film, and more of funny bits with a loose story. Not a whole lot makes sense in the context of the story of a stranger in a strange land falling into the wrong crowd. It's more of little vignettes for Mr. Lloyd to work his magic as a performer.

Harold's charm is his Chaplinesque goofiness. He has an innocence and guy-next-door feel, that allows you to be his champion throughout his films, even when he looks straight into the camera. The best bits are the ones that seems almost impossible. When he throws the cigarette papers and the tobacco in his one had and makes five perfectly rolled cigarettes for the table is hilariously absurd. When he hides in the dressing hanging on the linge line, is magical. The film serves its purpose and it was good, but it is only good for a viewing or two.

**

I remember when I saw the trailer for this movie, I wanted to see it immediately. I rarely go to the theatre to see a movie more than once. I saw Rango more than once in theatres (twice). I knew this would win Best Animated Film at the Oscars, even while not seeing the other nominees. The film is so magical, and funny, and cultural, and beautiful. Sure it's a little crass, and the story is a little less compelling. And yes, it spoofs, and hommages, and even steals from past genres, films, performances, and persons, but it's just a damn entertaining film.

I love that at the beginning before the inciting incident, Rango goes through a list of stories he could tell, he references some of the very roles Johnny Depp has played (Jack Sparrow, Don Juan DeMarco). The music, the feel, the animation sucks you in. The saloon scene is of particular mention as ultra-real animation. This was ILM's first full-length film to animate, and they certainly did not disappoint.

Edward Scissor-Hands, Monty Python's Holy Grail, Fear and Loathing in Las Vegas, Raising Arizona, Star Wars, hints of Yojimbo, Chinatown, and others pop up through the film filling it with rich cultural references. Both the films have hints of racism (particularly of Native American), the latter is merely a commentary on the genre. The things that I think draws me to this film is the different levels. It does what The Simpsons do, albeit on a much less successful scale. It attempts to be very smart, and cultured, but it doesn't quite succeed. Many of the lines are throwaway, or repetitious. None of this takes it down a peg. For what it is, it is a fantastic film. Highly enjoyable, with many different facets and levels that the adult can enjoy, the cinephile, even the kid. Some of the jokes are very subtle, some are obvious, and some are just farts. The great thing about this movie is definitely the visuals and the experience of it all. You get wrapped up in it. You feel things, and like our addiction to water...you want more.

****

Next Set

Today we will be viewing two wonderful films. The first stars the great Harold Lloyd, An Eastern Westerner, the second the Academy Award winning Rango. I hope you enjoy!

The Skeleton Dance/ La Regle Du Jeu

Before this viewing I had never seen The Skeleton Dance, but had only heard of it. Sure, I may have seen a few seconds to know of its existence, but that's it. It starts out with an owl on a macabre full-moon night hooting, almost waking the bones from the crypt. The witching hour sounds, an old hound howls at the moon, two black cats like sentinels frame the first skeleton to sneak across the graveyard, and ultimately déplume the frightened owl. One skeleton becomes four, and they start their ritualistic dance. What attracts me most about this is how insanely synced the short is to the "symphony" especially for 1929 standards. The animation, too, of the skeletons is sharp and fine. The silliness throughout makes this more jovial than frightful, and I'm sure children and adults alike were pleased with what they were watching back in the day. It makes me reflect on my grandfather and grandmother, who at the time when this short premiered were eight and nine respectively. Of course, they didn't watch it then as both were no where near a theatre, nor did they have the money (this was during the fateful year of the market crash). Ironically, the film makes me reflect on my own past, and not to the future and of death. Who's topic matter is dearth of life, this film is full of mirth and life.

**1/2

Directed by the the masterful Jean Renoir, the film begins with uplifting classic music which halts to the "bruit" of the crowd attending the touchdown of recent "célèbre" Andre Jurieux, who made his way across the Atlantic in 23 hours for a foreign girl bereft of pretense. This film is not about the stirring that was happening on the European continent (or is it?). Several men, gentlemen with honor and valor being seduced by a foreign presence. A metaphor for the Nazi regime soaring into power, and causing great nations to appease and rub shoulders with the meteoric rise of the eventual super-power that was the Nazi party. It's hard to imagine that this could have been in Renoir's head as he produced the film just one year before the Vichy regime started in France. But then again, seeing this film and his two previous films La Bête Humaine, and La Grande Illusion, it's not that hard to believe. He had a habit of showcasing his eye for a beautiful shot, and subtle allegory. He was one of the masters.

This film is poetry on celluloid. Each shot shows great reservation. The film is oozing with French sentiment that, though not apparent at the time, is stereotyped now. All that matters in life is love and the potential of love. What we now see as Presidential farce in France; a standard in Gaulish society today, was almost taboo when the film broke onto the scene. The film is filled with these French nuances from campagne folk, to hunting, to talking about food, to the difference between adieu and au revoir. The list goes on and on. I love this film. This isn't merely about the love tetrahedron that is displayed quite heavy handedly in the film, it's about the persistent social stratification that persisted even in the 30's. The servants, maids, shoe boys. They all ate separate, even below the high society. Although they had import position and were a huge help to society, they tended to be brushed aside by those of a higher caste.

What struck me the first time (and consequently further viewings) was the juxtaposition of the rabbit and pheasant hunt, and the unfortunate death of Andre Jurieux at the end of the film. Jurieux's body language as he fell stiff to the ground immediately recalled the hunt. Renoir's craft working effortlessly. Octave's relinquish of the woman that he had loved for years is so gut-wrenchingly sad, it makes you glad that the film is nearly over so you can crawl into your bed a lament all the people you were in love with that you lost or let slip through your fingers. Although Renoir's acting chops are utile, save for last scene, his gift is really behind scenario and behind the camera. A flaw of the film is the lack of focus. Another, as weird as it sounds, is the physical similarities between several of the characters. It can make it confusing for the viewer to follow. The sweetness, the nostalgia, the bedroom farce, the humanity, and lack thereof. This film is way ahead of its time, and is unique. The film was lost for a time, and once found has been lauded as one of the greatest films of all time. Renoir is a true auteur worthy of the praise. He was and still is a shining star in the firmament of film history. And La Règle du Jeu is one of his greatest creations.

****1/2