Saturday, November 29, 2014
Next Set
The next set of films we will be viewing are really only connected via title. But, both are a commentary of the extremes at the ends of the spectrum. It also reflects humanity in bold and artistic ways. We will be viewing Hunger by Peter Foldes and Hunger by Steve McQueen. Join me, won't you?
Wednesday, November 19, 2014
Darkness Light Darkness/ Pee-Wee's Big Adventure
I am a fan of the quirky. I am a fan of the weird. I am a fan of the outsider, with a brilliant mind, and a creative product. That is why I love this pairing. Not only was the genius of Jan Svankmajer so envied by Tim Burton, but Timmy, even emulated several aspects of Svankmajer's film making. And it's very apparent in the feature presentation. Sure, both Svankmajer and Burton border on the weird, almost insane, but each film is embued, at the very least with creativity. Not to mention joy. The two I have chosen are the most creative, and most joyous, that I have seen of their respective oeuvres.
We start with the satisfying short Darkness/Light/Darkness. A Czech short by Jan Svankmajer made in 1989 (although it seems older), whose 7-minute running time, makes you crave more. It's a simple story of body parts entering a room and being molded to create one man. Jan's take on the creation myth, I suppose. It is filled with humor and nuanced with incredible detail. Jan, who was completely hands on (pun intended) with every aspect of the production, could have gone cartoon-y, but decided on anatomically realistic animation. His bizarre surreal sense of humor plays nicely in this short. His use of bland clay, combined with actual organs and glass teeth/eyes create stunning contrast. The reason the film seems older, is not because the film has an almost classic feel, but because the cameras at Jan's disposal were outdated and worn. I found this short particularly satisfying. Most people that view it/ I've shown it to, have been entertained, if not pleased at having watched it. There is not a short from Svankmajer that I don't like. And this one is truly a testament to his unique style and vision, as well as his surreal sensibilities.
****
Before I saw Pee-Wee's Big Adventure for the first time, I remember going to my cousin Paige's house and playing with a Pee-Wee Herman doll (think Howdy Doody doll in the likeness of Pee-Wee) This was around the time of the unfortunate Florida adult theatre fiasco of 1991. I was oblivious to the whisperings of his sordid run-in with the law, as I was oblivious to the awesomeness that is Pee-Wee's Big Adventure. When I first saw it, I fancied it. But, as it is with most things I enjoyed as a kid that has any clout or lasting power, I grew fonder of the intricacies, humor, depth, and intelligence that this film provides. It's not really a kids movie. It's deeper, darker, and more intelligent than most people give it credit. Certainly as a 6 year old, I couldn't have imagined its true brilliance. The more I watched it, the more I picked up. The more I read on the subject, the more the film endeared itself to me. The more people I found out that were involved in it, the bigger fan I became. It is a good film. Critics and friends have all generally agreed that it's a good film, but few would say its one of the greatest films ever made. Who would have the gall to say that?! Well, I certainly wouldn't say that, but I have said on numerous occasions that this film is one of the two greatest films to come out of the 80s. It's my opinion, but I feel justified in that opinion (the other, in case you were wondering, is the previous film we viewed, the awesome Brazil). I won't list the reasons why, and honestly, I don't think I have the capacity to convince anyone on my side. It's just a feeling; it's the intense pleasure that I get from watching it time and time again. It certainly is an 80s film. The stop-motion animation, the song and dance number, the kitchiness of it, the references. It's an iconic film set in a unique time in the history of cinema. We leave the grittiness of the 70s and the American new wave, as well as the advent of the blockbuster, and we transition into an era of...well...80s films.
There are so many things, lines, dances, scenarios that have become a part of the zeitgeist of 80s culture and has become part of popular culture today. Many stemming from this film. In its basest form, Big Adventure is Ladri di Biciclette, in its purest form it's sheer joyous entertainment surrounded in trying to recover something so precious that was lost. Perhaps it's the innocence of youth, the Rosebud of the 80s. This is a first for just about everyone involved. This is Tim Burton's first full-length film, Danny Elman's first attempt at scoring a film, and Paul Reubens first time headlining a film. A bunch of novices attempting to make a successful film, and to be honest, they were successful. It allowed Warner Bros. to remember Burton when they were looking for a director for the soon-to-be super successful Batman franchise. Paul Reubens created the Pee-Wee character while killing it in the late 70s and early 80s at the Groundlings, where he and close friend Phil Hartmann (yes, that Phil Hartmann) penned the script. At times, the script reads like a Groundlings sketch, but all in all it's a decent script, certainly acceptable in the decade it came out in. The artistic vision of the film was, undoubtedly, overseen by Reubens, who didn't want to give up his vision, but you can see Burton's influence seep through. Many touches and flourishes scream Burton. The film is episodic in nature, vignettes that would play when given the scenario and/or setting, which would guarantee to please the audience, if not bowl them over with laughter. There are cheeky bits sprinkled throughout that a more mature person would cringe at (Micky looking Pee-Wee up and down after their run-in with law enforcement's blockage to name only one). The mixture of day scenes, night scenes, dream sequences, animation sequences add to the surreality of the film. We journey with our man of constant sorrow, his adventures entertain us, worry us, at time scare us. What we truly want is a good outcome of our hero. We hope he gets what he so earnestly searches for, because we, as humans, hope we get what we so earnestly search for. Of course the film is silly. It's not suppose to be real, or eventful, or dramatic. It's supposed to entertain us. There is no pretense. It makes no grand statements of being a masterpiece. It know what it is, and knows what it isn't. It isn't Citizen Kane. Occasionally, I can see Reubens and Hartmann sitting down writing lines that they think will work, that will make the audience laugh. And they do, but the awkwardness, silliness, and surreal aspects of the mise-en-scene make those solid laughs secondary. It's place in cinema history, particularly of 80s cinema history is solid. Nothing pleases me more than just being lost in the moment, and enjoying dumb, but enjoyable lunacy. It takes me out of my mundane life, and allows me to laugh at Pee-Wee's (mis)adventures. The end wraps up the stories nicely, and the cameo in his own biopic is the icing on the deliciously satisfying cake. If you ask me if I recommend this film, it's a resounding yes! You may not think it's a masterpiece, you may not consider it the top two best films of the eighties, you may feel dumber from having watched it, but you can't deny that you start to, at least, think it's somewhat enjoyable, and you may even find yourself laughing. To those who don't, I recommend re-watching with an open heart and "tell 'em Large Marge sentcha!"
****
We start with the satisfying short Darkness/Light/Darkness. A Czech short by Jan Svankmajer made in 1989 (although it seems older), whose 7-minute running time, makes you crave more. It's a simple story of body parts entering a room and being molded to create one man. Jan's take on the creation myth, I suppose. It is filled with humor and nuanced with incredible detail. Jan, who was completely hands on (pun intended) with every aspect of the production, could have gone cartoon-y, but decided on anatomically realistic animation. His bizarre surreal sense of humor plays nicely in this short. His use of bland clay, combined with actual organs and glass teeth/eyes create stunning contrast. The reason the film seems older, is not because the film has an almost classic feel, but because the cameras at Jan's disposal were outdated and worn. I found this short particularly satisfying. Most people that view it/ I've shown it to, have been entertained, if not pleased at having watched it. There is not a short from Svankmajer that I don't like. And this one is truly a testament to his unique style and vision, as well as his surreal sensibilities.
****
Before I saw Pee-Wee's Big Adventure for the first time, I remember going to my cousin Paige's house and playing with a Pee-Wee Herman doll (think Howdy Doody doll in the likeness of Pee-Wee) This was around the time of the unfortunate Florida adult theatre fiasco of 1991. I was oblivious to the whisperings of his sordid run-in with the law, as I was oblivious to the awesomeness that is Pee-Wee's Big Adventure. When I first saw it, I fancied it. But, as it is with most things I enjoyed as a kid that has any clout or lasting power, I grew fonder of the intricacies, humor, depth, and intelligence that this film provides. It's not really a kids movie. It's deeper, darker, and more intelligent than most people give it credit. Certainly as a 6 year old, I couldn't have imagined its true brilliance. The more I watched it, the more I picked up. The more I read on the subject, the more the film endeared itself to me. The more people I found out that were involved in it, the bigger fan I became. It is a good film. Critics and friends have all generally agreed that it's a good film, but few would say its one of the greatest films ever made. Who would have the gall to say that?! Well, I certainly wouldn't say that, but I have said on numerous occasions that this film is one of the two greatest films to come out of the 80s. It's my opinion, but I feel justified in that opinion (the other, in case you were wondering, is the previous film we viewed, the awesome Brazil). I won't list the reasons why, and honestly, I don't think I have the capacity to convince anyone on my side. It's just a feeling; it's the intense pleasure that I get from watching it time and time again. It certainly is an 80s film. The stop-motion animation, the song and dance number, the kitchiness of it, the references. It's an iconic film set in a unique time in the history of cinema. We leave the grittiness of the 70s and the American new wave, as well as the advent of the blockbuster, and we transition into an era of...well...80s films.
There are so many things, lines, dances, scenarios that have become a part of the zeitgeist of 80s culture and has become part of popular culture today. Many stemming from this film. In its basest form, Big Adventure is Ladri di Biciclette, in its purest form it's sheer joyous entertainment surrounded in trying to recover something so precious that was lost. Perhaps it's the innocence of youth, the Rosebud of the 80s. This is a first for just about everyone involved. This is Tim Burton's first full-length film, Danny Elman's first attempt at scoring a film, and Paul Reubens first time headlining a film. A bunch of novices attempting to make a successful film, and to be honest, they were successful. It allowed Warner Bros. to remember Burton when they were looking for a director for the soon-to-be super successful Batman franchise. Paul Reubens created the Pee-Wee character while killing it in the late 70s and early 80s at the Groundlings, where he and close friend Phil Hartmann (yes, that Phil Hartmann) penned the script. At times, the script reads like a Groundlings sketch, but all in all it's a decent script, certainly acceptable in the decade it came out in. The artistic vision of the film was, undoubtedly, overseen by Reubens, who didn't want to give up his vision, but you can see Burton's influence seep through. Many touches and flourishes scream Burton. The film is episodic in nature, vignettes that would play when given the scenario and/or setting, which would guarantee to please the audience, if not bowl them over with laughter. There are cheeky bits sprinkled throughout that a more mature person would cringe at (Micky looking Pee-Wee up and down after their run-in with law enforcement's blockage to name only one). The mixture of day scenes, night scenes, dream sequences, animation sequences add to the surreality of the film. We journey with our man of constant sorrow, his adventures entertain us, worry us, at time scare us. What we truly want is a good outcome of our hero. We hope he gets what he so earnestly searches for, because we, as humans, hope we get what we so earnestly search for. Of course the film is silly. It's not suppose to be real, or eventful, or dramatic. It's supposed to entertain us. There is no pretense. It makes no grand statements of being a masterpiece. It know what it is, and knows what it isn't. It isn't Citizen Kane. Occasionally, I can see Reubens and Hartmann sitting down writing lines that they think will work, that will make the audience laugh. And they do, but the awkwardness, silliness, and surreal aspects of the mise-en-scene make those solid laughs secondary. It's place in cinema history, particularly of 80s cinema history is solid. Nothing pleases me more than just being lost in the moment, and enjoying dumb, but enjoyable lunacy. It takes me out of my mundane life, and allows me to laugh at Pee-Wee's (mis)adventures. The end wraps up the stories nicely, and the cameo in his own biopic is the icing on the deliciously satisfying cake. If you ask me if I recommend this film, it's a resounding yes! You may not think it's a masterpiece, you may not consider it the top two best films of the eighties, you may feel dumber from having watched it, but you can't deny that you start to, at least, think it's somewhat enjoyable, and you may even find yourself laughing. To those who don't, I recommend re-watching with an open heart and "tell 'em Large Marge sentcha!"
****
Next Set
Now is the time. It is stop-motion animation, and wackiness and hilarity. Now is the time for Darkness Light Darkness by Czech filmmaker Jan Svankmajer, and Pee-Wee's Big Adventure by Tim Burton. So, away...we...go!
Friday, November 14, 2014
La Jetee/Brazil
I will try to be brief, because there are a lot of film pairings I still need to get through. This does not mean that these aren't great films, or worth my time for lengthy analysis, quite the opposite, in fact. Brazil, for example, has been a favorite of mine for nearly a decade. The correlation between La Jetee and Brazil may not be too apparent, but it's the former that influenced the director of Brazil to make a full-length film of La Jetee under the name Twelve Monkeys.
La Jetee is unique in that it hearkens back to the zoetrophe days of film making. It's rudimentary, but compelling. It's the frames cut and strung together that make the story of a man from the future underground after the devastation of world war three being sent to the past before the outbreak of the war, where he falls in love with a woman, and through several jumps back to the future, and the even further future, he finally goes back to the past where he searches for the woman, and ends up being killed before his own (as a young boy) eyes. The black and white photography is nice, and the photos of the injections nauseating. It is a slow paced movie, and almost runs like a documentary. The plot is refreshing, and unique, but the film itself is forgettable. The literal moving pictures don't make it a lasting picture. The power of Twelve Monkeys, coupled with the pandemic make it a more commercial, and better film, but even it bows down to the inspiration. There's no question La Jetee is influencial, but it is equally obscure.
*1/2
I first watched Brazil a little less than a decade ago, because a good friend of mine loved it from his childhood, and convinced me to watch it. It is directed by Terry Gilliam the unique glue and only American Python. It was co-written by Gilliam and Tom Stoppard, whose unique, often twisted humor coupled with satirical and surreal elements offer up a unique screenplay that was nominated for best original screenplay at the Oscars. It's a dystopia of hilarious proportions, whose alternate title was 1984 1/2, if that does tell you what this film could be, then, 1) you're an idiot, but really 2) watching the film will.
Actually, this film doesn't make too much sense to the casual movie-goer, or one not typically aware of dystopian films, but it is truly a complex and rich film. It is filled with little nuggets, Easter eggs, little visual gags, cunning word play. It runs the gamut of human emotion. In short, this film has everything. You don't go five minutes without something unexpected and wonderful happening. The dream sequences are surreal, the real life sequences are equally surreal. Gilliam does what he does best: makes an enjoyable film with surprises at every corner. This film has very little symbolism, yet its themes are very relatable even today. The themes of bureaucracy, terrorism, and love transcend eras in time. Gilliam's use of dutch angles, low angles, and overhead shots, make the viewer a little disoriented, as if they are watching their own fever dream. The music sticks with you, as does the imagery of the film. It really is one of the best films of the 80s, and has stuck with me. I find new things every time I watch it. It still remains one of my favorite movies. And the ending, one of the greatest ending in all of cinema. It is a real treat. It's all genre encompassing, including film noir, screwball comedy, drama, action, and comedy. What it is above all is satisfying. I can't recommend this movie enough to people that want to watch a good and quirky film. But Brazil is more than quirky, or weird, or surreal, or bizarre. It is a 143-minute trip of futuristic fun. Play it again, Sam!
****1/2
La Jetee is unique in that it hearkens back to the zoetrophe days of film making. It's rudimentary, but compelling. It's the frames cut and strung together that make the story of a man from the future underground after the devastation of world war three being sent to the past before the outbreak of the war, where he falls in love with a woman, and through several jumps back to the future, and the even further future, he finally goes back to the past where he searches for the woman, and ends up being killed before his own (as a young boy) eyes. The black and white photography is nice, and the photos of the injections nauseating. It is a slow paced movie, and almost runs like a documentary. The plot is refreshing, and unique, but the film itself is forgettable. The literal moving pictures don't make it a lasting picture. The power of Twelve Monkeys, coupled with the pandemic make it a more commercial, and better film, but even it bows down to the inspiration. There's no question La Jetee is influencial, but it is equally obscure.
*1/2
Actually, this film doesn't make too much sense to the casual movie-goer, or one not typically aware of dystopian films, but it is truly a complex and rich film. It is filled with little nuggets, Easter eggs, little visual gags, cunning word play. It runs the gamut of human emotion. In short, this film has everything. You don't go five minutes without something unexpected and wonderful happening. The dream sequences are surreal, the real life sequences are equally surreal. Gilliam does what he does best: makes an enjoyable film with surprises at every corner. This film has very little symbolism, yet its themes are very relatable even today. The themes of bureaucracy, terrorism, and love transcend eras in time. Gilliam's use of dutch angles, low angles, and overhead shots, make the viewer a little disoriented, as if they are watching their own fever dream. The music sticks with you, as does the imagery of the film. It really is one of the best films of the 80s, and has stuck with me. I find new things every time I watch it. It still remains one of my favorite movies. And the ending, one of the greatest ending in all of cinema. It is a real treat. It's all genre encompassing, including film noir, screwball comedy, drama, action, and comedy. What it is above all is satisfying. I can't recommend this movie enough to people that want to watch a good and quirky film. But Brazil is more than quirky, or weird, or surreal, or bizarre. It is a 143-minute trip of futuristic fun. Play it again, Sam!
****1/2
Thursday, November 13, 2014
Next Set
We will be watching the short that is the inspiration for Twelve Monkeys, La Jetee, and Terry Gilliam's beautiful Brazil.
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