Saturday, 22 November 2014
Swedish filmmaker Roy Andersson produced something incredibly unique with his ‘Grandeur of Existence’ trilogy. On first glance they might seem Scandinavian cousins of Wes Anderson’s works on account of the dazzling visual style, quirky humour, serio-comic tone and idiosyncratic characters; but the deep undercurrents of melancholia, existential gloom and mordant take on what it means to be alive, truly set them apart. Du Levande, the highly episodic second chapter in the trilogy (sandwiched between Songs from the Second Floor and A Pigeon Sat on a Branch Reflecting on Existence – released 7 years apart on either side), provided whimsical and darkly hilarious, but essentially tragic, portrayals on quotidian life. The loosely connected vignettes, fabulously played by its ensemble cast, chronicled disparate tableaus – a depressed, obese woman (Elisabeth Helender) lamenting to her placid boyfriend on how no one cares for her; a man slyly stealing the wallet of a gregarious and wealthy man, and buying a nice dress with the money; a lonely young lady (Jessika Lundberg), hopelessly in love with a rock musician, dreaming of their marriage post which they reside in a traveling house; a cynical, misanthropic psychiatrist (Håkan Angser) who prescribes pills as opposed to providing therapy to his patients; a xenophobic white collar man who gets a raw deal while getting a haircut from a Muslim barber; a man (Leif Larsson) who has a nightmare about being executed by the state for having destroyed expensive dinner-set at a party. The characters' miseries, bitterness, crises and failures were accentuated by the misty, radiant cinematography using long takes and static, wide-angle shots, a deliberately jumbled narrative that regularly switched between real and surreal, and an upbeat score.
Director: Roy Andersson
Genre: Black Comedy/Social Satire/Ensemble Film
Thursday, 13 November 2014
Il Bidone formed the middle segment in Fellini’s ‘Trilogy of Loneliness’, both in terms of chronological placement and darkness quotient. La Strada was incessantly grim and harrowing, while Nights of Cabiria, despite its melancholic air, had an underlying sense of heartwarming optimism. Though it ended on an intensely lonely and bitter note that was completely bereft of any chances of personal redemption, it had its share of lighter moments and humour which wryly commented on the larger societal tragedy that it contextualized. The plot followed the exploits of a group of scamsters who swindle the gullible, ignorant and poor – their cunning ploys, in a sly and acerbic nod to cold corporations that build their wealth through cynical and opportunistic exploitation of the oppressed masses, involve giving hope to the have-nots while milking out what little they do have. The group is led by the middle-aged career conman Augusto (Broderick Crawford), and comprises of the naïve Carlo (Richard Basehart) and the brash Roberto (Franco Fabrizi). The film’s first half devoted time on the group’s inner dynamics and Carlo’s poignant relationship with his loving wife (Giulietta Masina in a smaller role vis-à-vis the two films sandwiching it) who suspects his shady involvements; the second half, however, focused solely on Augusto’s lonely and heartbreaking existence, his palpable weariness, his futile attempts at rekindling his bond with his daughter and the debilitating comeuppance in store for him. Crawford gave a fabulous, poignant and profoundly affecting turn that memorably complemented the film’s somber tone and richly humanistic theme. A party sequence, littered with decadent, hedonistic and vacuous rich folks, provided a terrific peak into the distinctively Felliniesque world exemplified by La Dolce Vita.
Director: Federico Fellini
Genre: Drama/Crime Drama/Psychological Drama
Sunday, 9 November 2014
Somewhere in the Night was one of those lesser-known noirs that, nevertheless, had the necessary wherewithal to keep one engaged through infusion of noir archetypes with a script that was never short of dramatic moments. Its intriguing tale of an amnesiac, who may or may not have committed crimes in his past, putting together the various jigsaw pieces of his lost memories, reminded me a little bit of Nolan’s Memento. George Taylor (John Hodiak), a cynical war veteran and a quintessential noir protagonist who has just woken up from a coma, remembers nothing of himself and his past. A handsome but cryptic some of money left by a mysterious Mr Larry Cravat, who no one knows well but everyone seems to be after, forms the starting clue in his labyrinthine journey to unearth his past, his identity and possibly a huge stash of money with links to Nazi Germany. Along the way he becomes acquainted with beautiful nightclub singer Christy (Nancy Guild), Christy’s overly philanthropic boss (Richard Conte), a slippery and unctuous thug (Fritz Kortner), a surprisingly even-natured cop (Lloyd Nolan), among others. The film painted a downbeat picture of the seedy underbelly of post-War America, with the socio-political context providing a relevant undercurrent to the tale of deceit, double crossings and crime. The excellent B/W photography, with a heavy dose of static expressionism, added to its moody atmosphere, which compensated for the rather lackluster lead performances. Even though the premise asked for an unpredictable storyline, it felt tad too serpentine at times. The length, too, could have been made crisper. On the whole it was a decent thriller served straight up.
Director: Joseph L. Mankeiwicz
Genre: Film Noir/Crime Thriller
Director: Joseph L. Mankeiwicz
Genre: Film Noir/Crime Thriller
Friday, 7 November 2014
David Fincher combined his experiences in concocting compelling crime dramas (Se7en and Zodiac) and morbid satirical humour (Fight Club) to adapt Gillian Flynn’s bestselling misanthropic book for the gripping film Gone Girl, that, like his best works, seamlessly trudged the line between art and entertainment. Dark, disturbing, incredibly moody and brilliantly paced, it succeeded in evoking a not too optimistic picture of marital breakdown, media manipulations, importance of public perceptions and the underbelly of American Dream, despite its outrageous storyline. Nick Dunne (Ben Affleck), a one-time populist writer for a men’s magazine and a likeable guy, and Amy (Rosamund Pike), a beautiful lady with a terrific resume whose idealized version formed the source of a popular fictional character created by her parents, seem the perfect All-American couple. However, when she disappears under mysterious circumstances on their fifth anniversary, a massive police investigation and media witch-hunt results, leading to unraveling of discomfiting skeletons from their closet. Revealing any more about the plot would be a blasphemy for those yet to watch this topsy-turvy film that is sure to leave the viewers guessing right till the unceremonious but apt finale. That Fincher has a great ability in creating brooding atmosphere has been a given right from his debut film Alien 3, and that was once again in exquisite display here. Affleck was rightly cast in Nick’s role despite his limited acting prowess, while Pike, as the cold, icy, brilliant, unpredictable, self-serving and sociopathic femme fatale, did a very good job. The pulsating score and narrative structuring did a good job at sustaining tension, suspense and dystopian portrayal of a marriage gone horribly wrong.
Director: David Fincher
Genre: Thriller/Crime Thriller/Psychological Thriller
Sunday, 2 November 2014
Mike Hodges created a seminal British action/ crime/ gangster film with his well-crafted debut feature Get Carter, a pop-cultural cornerstone where gritty realism in genre filmmaking goes. Dreary, nihilistic and downright nasty, it ushered in its wake a new penchant for combining the ‘angry lone man’ persona with edgy filmmaking. Jack Carter (Michael Caine), a London-based hood working for a powerful mobster and in a sly affair with his boss’ fiancée, decides to go back to his native Newcastle in order to attend the funeral of his recently deceased brother Frank and investigate the cause of his death as he suspects foul-play and possibly murder. The deeper he goes in his chillingly relentless pursuit, the more entangled he becomes in a vicious and murky web involving an organized pornography racket led by the slimy sleaze-ball Kinnear (John Osborne), his old buddy and Kinnear’s stoic henchman Eric (Ian Hendry), his orphaned teenaged niece who he wants to protect from the vultures all around her, and a whole gamut of opportunistic people. Hodges made excellent use of location shooting, making Newcastle’s milieus, from its bleak working-class neighborhoods and waterfront to its grimy underbelly and stolid urbanization, a distinctive part of the story. Caine, with his near psychopathic streak of vengeance and violence, and the cold charm and menace of a viper, was perfect as Carter, and the film was completely bereft of any likeable or empathetic characters. The four-way climax involving Carter, Eric, Kinnear and a mysterious assassin, made for a structurally operatic finale albeit filmed in a downbeat, measured and matter-of-fact manner, as was the rest of it. The minimalist fusion soundtrack, comprising of piano strums and table beats, heightened the pulsating tempo.
Director: Mike Hodges
Genre: Crime Thriller/Gangster Film