Friday, May 18, 2012

No More Lonely Nights

Lonesome (1928) - Fejos
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Jim is a factory worker and Mary, a switchboard operator. They are lonely working class folks in the big city. It's July 4th weekend and they decide to go down to Coney Island to have some fun. Jim notices Mary first, soon the attraction is mutual and they spend the whole time on the beach until they realize it's night. After having a good time at the boardwalk and various amusement ride, they get separated. A terrible thunderstorm ensues and they come home, wet and melancholic.

Lonesome is a virtuosic filmmaking: graceful, playful camera movements, sophisticated editing techniques- multiple exposures, impressive shot transitions, ingenuous setups- handheld rollercoaster rides, cheap but effective in-camera thunderstorm effects, etc. Jim and Mary's connection and their heartache in being separated after finding someone special is very palpable. You can feel the sexual energy when they reunite at the end. I bet they get to have the best sex of their lives after the credits roll- one can only hope. Barbara Kent has the most beguiling smile among the silent era actresses.

Thursday, May 17, 2012

Trapped

City of Pirates (1983) - Ruiz
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Ruiz's adult fairytale has no city nor pirates but crazy colors, incomprehensible plot and Anne Alvaro's long, emotionless face. It has something to do with Ophelia complex and being trapped by family, gender, history, time.... Most of the surreal dialog/monologues completely went over my head, but the haunting images have cumulative effect as the film progresses. Not completely impenetrable and not as mystical and silly as Jodorowsky surrealism, but there seems to be more of a meaning and weight to Ruiz than just a simple mindfuck. As I'm left with a lot of things to chew on, I think I can really get into Raoul Ruiz.

Monday, May 14, 2012

Norwegian Crumb

Pushwagner (2011) - Benestad,Hanssen
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An aging Norwegian pop artist, Hariton Pushwagner, is the subject of this larger-than-life documentary, directed by Even Benestad and August B. Hanssen. And it's a great doc about an eccentric artist, rivaling Crumb in its charm and scope.

It is clear from the beginning, this pint sized, chain smoking, always inebriated man let us know just who is in charge; he dictates the first scene of the film, "Ok, it starts with me reading a book, now you ask me a question 'what are you reading Push?' and I just hold up the book over my face like this." We soon find out that there is no need to cover his face. Resembling Harry Dean Stanton on a bad day, his face, devastated by years of drug abuse and alcoholism, is worth a thousand words. The book he is reading is Lord Byron's Selected Letters. He goes on saying that one has to live like he reads. "This will be a meta-movie," he predicts.

Pushwagner's philosophy: one has to be living in action, not in theory, is what he realized late in his life. As the lawsuit proceedings against his former assistant, Morten Dreyer (in his muddled mental state, Pushwagner apparently signed a contract enabling Dreyer all the rights to his artwork in the 1990s), put much stress on his mental health and aging body, he knows that he hasn't got much more time left. His only regret in life is everything but the moment right now. His only pleasure left in life is the booze, fame, TV appearances and meeting adoring fans.

The main attraction of the documentary is of course, Pushwagner's idiosyncratic art: crudely drawn, yet extremely detailed Kafkaesque nightmare of banalities of everyday life. Benestad and Hanssen makes the most of these bright colored, repetitive figures and buildings to their advantage in computer animation sequences such as the artist's best known work, Soft City.

A born exhibitionist, Pushwagner is not shy about his dark past. In one of the many hilarious sequences in the film, he eagerly shows the film crew around where he spent his nights in his homeless days- next to an air duct of a roof of some building. It kept him warm on winter nights. He loses his trace of thoughts in an impossibly tiny shack where he used to sleep. He and the team also reenact his collapse from a kidney failure and subsequent hospitalization. But it has a lot of tender moments too. A footage of him visiting the deathbed of his long time mentor/collaborator, novelist Axel Jensen is very touching.

Lack of dates and contexts surrounding the artist, unless you are Norwegian, it is perhaps hard to imagine the whole magnitude of the tragicomedy that is Pushwagner's life. But with loose, intimate and visually inventive storytelling with compelling hero, Pushwagner is a great entertaining documentary and the one to remember.

Thursday, May 10, 2012

MIB3 with Rick Baker at MoMI

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Museum of the Moving Image is hosting the exhibition of creatures and props for upcoming Men in Black 3 by the legendary special effects and makeup artist Rick Baker (American Werewolf in London, Thriller, Videodrome, Ed Wood, Hellboy). The exhibition runs May 9 through September 23.
Rick Baker, the master special effects makeup artist who has won seven Academy Awards, created the alien creatures for the Men in Black movies. Baker's extraterrestrials are among the most memorable visual elements in the comical action adventure series about a pair of agents who monitor a population of unruly space aliens posing as ordinary citizens. Futuristic firearms and ingenious gadgets are also integral to the vividly imaginative world of the Men in Black. Aliens, Gadgets, and Guns: Designing the World of Men in Black 3 presents over 25 objects from the forthcoming third installment of the series, and includes Baker's alien creatures, memory-erasing neuralyzers, alien weapons, a monocycle, and the iconic black shades worn by Agents J and K. Exclusive behind-the-scenes footage of Baker creating alien creature makeup is also featured in the exhibit.
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There will be a special preview screening of MiB3 in Dolby Digital 3-D on Thursday May 24, at 8 p.m., followed by conversation with Rick Baker who will discuss his work on the Men in Black movies. The first Men in Black film will be shown on Wednesday, May 23, at 3:30 p.m. The film opens nationwide in theaters on May 25, 2012.

For exhibit information please visit:
Aliens, Gadgets and Guns: Designing the World of Men in Black 3

Tickets for Preview Screening with Rick Baker in person, please visit:
Preview Screening + Live Event

Everyday Miracle

I Wish (2011) - Kore-eda
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Hirokazu Kore-eda (Nobody Knows, Still Walking)'s endearing new film, I Wish concerns two brothers Koichi and Ryu (Koki and Ohshiro Maeda, real life brothers), who live in different parts of Kyushu (southernmost among Japan's 4 main islands) as a result of their young parents splitting up. Koichi always wishes that some day his family will reunite. He keeps constant contact with his carefree younger brother. The news of the bullet train between the two towns they live in inspire them to come up with wish granting myth- when south and north bound trains pass by each other, the energy created by the trains would be so tremendous, it will grant any wishes uttered at that moment. They enlist their close school friends with different wishes and aspirations to take a trip to a station located halfway between them, risking punishment from their parents and teachers for skipping class.

I Wish is sweeter and lighter than Kore-eda's previous films. Death, the director's usual theme, only occurs to a pet dog here. After becoming a father and making Ozu-esque family drama, Still Walking, this life affirming dramedy feels like the most logical next step for him to take.

One thing that struck me most upon watching I Wish was that it could've easily been a Ghibli film, and I say this in the most affectionate, positive way. From its adorable young protagonists, a rural setting, gentleness of the adult characters, languid pace, to life lessons learned along the way, it plays out like a Miyazaki film without a cat bus. But as was the case with Nobody Knows, It's the amazing performances of its child actors that are the front and center of the film. Kore-eda provides enough room not only for the fantastic Maeda brothers, but also for other amateur actors who portrayed their friends to shine in their respective roles with natural, nuanced performances full of childish yearnings and surprising grace.

Also many familiar faces show up in supporting roles as adults, including Jo Odagiri as the deadbeat father and a struggling musician and Hiroshi Abe as a strict teacher.

My favorite part of the film is the static shots of inanimate objects near the end: mementos from their journey. The shots are held just long enough for us to appreciate those shared eternal moments. By the end I realize that its Japanese title, Kiseki (Miracle), refers more to everyday miracles- meeting new friends, adventure to new places, kindness of strangers, taste of grandpa's homemade traditional cake, among others. Affectionate and mature, I Wish is a lovely film about embracing everything that life throws at us.

I Wish has a limited release on May 11 in New York and LA and other cities in June. Check Magnolia website for dates for a theater near you.

Sadism

Justine (1977) - Boger
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Maquis de Sade's infamous tale of moral depravity gets an arty treatment (not to be confused with Jesus Franco production with Klaus Kinski) by a Brit Chris Boger. Justine and Juliette, two orphaned young sisters get kicked out of convent school full of lusty nuns and a randy pastor. The sisters couldn't be more different- Justine is the epitome of virtue and innocence while Juliette delights in school of flesh. As Juliette skools herself in a brothel in London, Justine goes back to the pastor, gets almost raped, then falls in with thieves and murderers under threat of violation. Juliette chose to live in sin and things are working out for her whereas Justine, the proud and virtuous one, the life is torturous and under constant threat. Sade's philosophy was not only anarchistic in rigid society but also extremely cynical. In Justine, he makes sure the virtues people hold dear get completely destroyed by the end.

Interesting to see even a great DP had a humble start doing softcore porn. Justine has some great visuals rivaling Ken Russell's The Devils, especially in the dream sequence. Cynical and dark. Koo Stark is mind bogglingly beautiful as Justine.

Tuesday, May 8, 2012

Which came first: Music or Whiskey?

Sprout Wings and Fly (1984) - Blank
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Les Blank features fiddler Tommy Jarrell of the Appalachian mountains in North Carolina. It takes some time to understand what he's saying. Once you settle in though, Sprout Wings and Fly is filled with fascinating stories- there is Austin who got drunk and fell asleep on the road and got ran over by a truck, there is a family dining table thick with table clothes on top of each other, dating back to 1937- when Cuba was celebrating better times by eating bread and there's lots and lots stories involving whiskey. Some of them should sound a little sad or downright grotesque, but they don't in Jarrell's words. The mountain folks in this doc, including Jarrell are always upbeat and funny. Again, Blank and Co. document and revive Americana that predates white hipsterism by 40 years and still come across as authentic and sincere in every way. A beautiful doc. So when is Criterion gonna put out Les Blank collection?

Monday, May 7, 2012

Unless a Seed Falls to the Ground and Dies...

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The TV anchorwoman’s trembling voice announced the passing of the Supreme Leader over the images of hysterical mourners gathered at the Kumsusan Memorial Palace, where the body was laid in a glass casket. Everyone was crying their eyes out: the TV anchors, the thousands of spectators including everyone watching TV.

 “…As he ascended to heaven, the skies glowed red above sacred mount Paekdu and the impenetrable sheet of ice at the heart of the majestic volcano cracked with a deafening roar…” continued the anchorwoman, dabbing her eyes with a white handkerchief.

Hong-jin was astonished that even his father, a reserved man who rarely showed his emotions, was wiping the tears away under his thick glasses. But the boy didn’t cry. Not because he wasn’t sad, but because he just didn’t believe that the Supreme Leader was actually dead. He couldn’t be. He was the one and only, the most illustrious commander born under heaven. He was supposed to be invincible!

There was a long line to the entrance to the mausoleum. The mood was decidedly somber and many of Hong-jin’s classmates were sniffling under their breath, quietly wiping away tears and snot with their dirty coat sleeves. He noticed that even the guards at the gate had puffy red eyes from crying. No one talked. No one complained waiting in line in freezing January weather. Once they were inside, the sound of the wailing coming from the mausoleum intensified. The emotions ran high. Many of the boy’s classmates started crying too. It was contagious. Still, he didn’t shed a tear. He still couldn’t accept the idea of the Dear Leader dying like a normal human being. He had to see the body himself.

There he was in a glass casket, surrounded by thousands of white irises. The Great Comrade was a tiny man, much shorter than Hong-jin had seen in pictures and photographs. As he placed his iris near the casket, he was able to see the Illustrious One’s face. It was as if he was in deep sleep. His lips were ever so slightly curled at one end. A stern looking guard gestured the boy to the exit, since there was still a long line of sobbing children behind him with irises in their hands, waiting for their turn to pay respect. As Hong-jin exited, he was convinced that he caught the Leader’s right eyelid twitching for a millisecond. I was right: the Supreme Leader wasn’t dead! He was just sleeping! He told himself.

Hong-jin sneaked out of the group and hid himself in a nook in that grand memorial palace. It wasn’t too hard since he was a very small boy even for his age. Besides, everyone’s attention was elsewhere. As he was squatting under the marble staircase silently, flood of people swept through the mausoleum all in terrible distress. It felt like ages. It was cold in that climate controlled room and after a while, the boy fell asleep on the marble floor.

When Hong-jin woke up, he found himself alone in the palace. The lights were dimmed and the sun was setting outside the big glass windows, painting the sky scarlet. The door to the mausoleum was shut. But Hong-jin saw the bright light leaking out from the bottom of the door. He cautiously pushed the door in and it opened with a prolonged eerie creak. The fluorescent light was blinding. The boy took off his black rubber school shoes and placed them neatly near the door. He tiptoed toward the glass casket in the middle of the mausoleum. “Dear Leader,” the boy called out, in an almost inaudible voice. The Supreme Leader was still motionless. After a little bit of hesitation, the boy decided to gently tap on the casket. No effect. He tapped on it a little harder. Dear Leader’s eyes didn’t open as he expected to. But the boy was determined to wake him out of his deep sleep.

He undid the latches on four corners of the casket and started to push the glass top off. It was heavy and the boy had to lean his whole body against it with all his might to have it move. He was trampling irises  with his feet.

Thunk.

As the glass top rolled over and hit the iris strewn marble floor, an amazingly awful smell hit the boy’s nostrils. It was coming from the casket. The horrified boy fell backward and retreated until the back of his head hit something. He looked up. It was that stern looking guard from earlier. From the look on his face with his mouth agape, the situation was pretty serious.

Being a mischievous young boy is one thing, but he had sneaked in and desecrated the sacred body of the Supreme Leader!

His parents should be put to the public trial and punished severely!

It’s almost treasonous!

Kyu-nam, a sympathetic old guard, came into the interrogation room where Hong-jin was held. He carried the boy’s black rubber shoes in his hand. He didn’t believe that the boy had malicious intentions in the mausoleum. After all, the kid was only eight. He glanced at the boy’s feet. There were remnants of white irises stuck on his white socks. He placed the boy on the table and sat down in front of him.

Don’t cry, comrade, he said.

He gently brushed off the irises from the boy’s feet and put the shoes on.

Just like these irises, our bodies are weak and fragile. Our Supreme Leader knew that his was fading.

The old guard explained to the boy that the Supreme Leader had indeed passed on. That it was his own wish to serve his beloved country and his people by going back to earth quickly so he could bring forth fruit for the new generation, for children like Hong-jin. Kyu-nam had seen enough things during his lifetime, so he was exceptionally good at lying.

Monday, April 30, 2012

Helping Hand

Nouvelle Vague (1990) - Godard Nouvelle Vague 1 Nouvelle Vague Nouvelle Vague 2 Nouvelle Vague 7 Nouvelle Vague 3 Nouvelle Vague 6 Nouvelle Vague 5 Nouvelle Vague 8 Nouvelle Vague 4
Could Nouvelle Vague be perhaps the most romantic and hopeful Godard film I've seen so far? With stunning visuals and constant, beautiful soundtrack, this new new wave tells a love story between Elena, a rich industrialist (Domiziana Giodarno) and Roger/Richard, a bum (Alain Delon), whom she picks up in her red sports car on the side of the road. She offers him a helping hand. This theme repeats throughout the film. At first, Roger is a quiet fellow and a confused fool who is buried in the background of a giant mansion by the lake filled with the crowd of business people who mostly converse in quotes and business jargons. This scruffy sage becomes an anchor of Elena's hectic life. But when they go boating, Roger falls in the water and Elena refuses to help him. He drowns and comes back as Richard- a business genius overseeing acquiring Warner Bros. Now it's Elena who needs to be saved.

Nouvelle Vague concerns many of Godard's usual themes: masters and servants, rich and poor, dualism, etc. Beautifully realized and impeccably put together (with the forever autumnal Switzerland countryside background and a constant, beautiful soundtrack), the film boasts a lot of stunning images, even for Godard's standard. The rebirth aspect of the film has multiple meanings here- paralleling lives, positive and negative making a whole, repetition of the waves (hence the apt title, not only referring to French New Wave Godard started in the sixties), resurrection of an old icon (Delon, his sharp features and beauty dulled by age), and perhaps the renewal of the First World in the last decade of the century, letting go of its ugly past and prejudices, lending a hand to the world in turmoil. Nouvelle Vague is an engrossing film and certainly is one of the most beautiful Godard films.

 *Just found this article about Nouvelle Vague Soundtrack. The soundtrack itself (entire film- sound, dialog in two discs), is put out by ECM. It's a magnificent record.

Click here for the article

Visit ECM Records for ordering CD

Sunday, April 29, 2012

NY Street Photos

I don't like carrying things around. But It's very hard not to carry my camera when I'm out because there is always something in the streets that beckons me to take pictures.  For instance, this weekend...

The Red Dress on the Fire Escape
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Wholesale Flowers and Plants Storefront with a Cat
Chelsea at night 4/27 IMG_1832  
Air Plant Display at DeKalb Market
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You Go Girl Graffiti
on Manhattan Bridge 4/28IMG_1902

Saturday, April 28, 2012

Lonely Hearts Hotel

Hotel Monterey (1972) - Akerman hotel monterey 2 hotel monterey 4 hotel monterey 5 hotel monterey 6 hotel monterey 7 Interesting. It starts on the lobby level with the shots of (mostly elderly) patrons coming and going. Then it's from inside the elevator going up and down, its door occasionally opening up to reveal ill lit, narrow, empty hallways. The hotel patrons disappear after ten fifteen minutes and it's kind of a slog with endless static/tracking shots of corridors in grainy 16mm. This 1 hour silent tableaux, documented entirely inside the New York hotel, evokes (as with Akerman's other NY films) the same loneliness and longing as Ed Hopper paintings or Robert Frank's America photographs. It's a rare time capsule of the 70s New York from an outsider's perspective. I liked it a lot.