I Forgot!

When I was in 5th and 6th grade, I was beyond obsessed with everything Lord of the Rings. It’s embarrassing, and I am not going to get into the details, but I was “that” kid. Because of this black mark on my social history (one of many, I’m afraid) I stuck all of my Lord of the Rings movies in a drawer, never again to grace my VHS player. This past weekend, however, in an attempt to put off my AP History homework, I decided that a back-to back-to back viewing was necessary. I know a little bit more about movies now than I did then, and I was amazed at how good these actually are.

First of all, the score is enough to almost make me cry (but not quite). Composed by Howard Shore and featuring performances by Annie Lennox, Enya, and Renee Flemming, as well as members of the cast, among others, there is not one scene where the music fails to capture the mood. My favorite might be a piece called “The Return of the King” from the third installment of the same name. It is 10:14 and is featured close to the emotional end of the third movie. It is a greatest hits piece of all the iconic themes throughout the three movies, and the emotions of the scene are mirrored perfectly in this composition.

When I was younger, my favorite character was naturally Frodo, the hero who must take the One Ring to be destroyed in the fires of Mount Doom lest it fall into the hands of the Dark Lord Sauron. When I watched again over the weekend, the Frodo-Sam-Smeagol plotline was my least favorite. Three and a half hours of angst is a little much. I much preferred the more understated plotline of Merry and Pippin, the two best friends separated from their ring-bearing companions and made to fight in two different armies. I found Dominic Monaghan’s Merry to be very convincing; he brought an element of realism to this fantasia. Billy Boyd’s characterization of Pippin really pulled on the heartstrings and kept me involved in the story.

The cinematography was beautiful. There is one shot in The Return of the King where there is a large enemy army attacking a city. Just as all hope is lost, the reinforcements arrive. It’s as if angels descended from the heavens, all to the tune of Handel’s “Messiah”. The shot is stunning. At first, only the front line of soldiers are visible, but as the sun rises, the camera pulls back to reveal thousands of riders on horseback. It continually takes my breath away. And it is only one of many.

Even though I will be playing catch up for the rest of my life because of my constant weekend shirking, I’m glad that I made time to revisit these films. There’s a reason that they won so many Academy Awards. I was lucky enough to be able to watch through different eyes, and I think it really improved the experience. If you’ve never seen these movies, or haven’t in a long time, I suggest carving out a good chunk of time, grabbing a blanket and some hot chocolate, and letting yourself get wrapped up in the story. “Suspension of disbelief” is what these movies work on, so let yourself go, relax and enjoy. You will not be disappointed.

"Ride now!...Ride now!...Ride! Ride to ruin and the world's ending!"

http://www.imdb.com/video/screenplay/vi787874073/
Click here to watch the trailer

Oscar Nod

I hate that I love Quentin Tarantino. I really want to dislike his movies because it makes me feel like a creep when I’m not disturbed by all the violence and gore. I’m not a Tarantino loyalist, though. I will probably never see Grindhouse and I thought Reservoir Dogs was a bit excessive, so when I saw the trailers for Inglourious Basterds, I was hoping to be impressed. After shelling out nine bucks for a movie ticket, I am happy to report that this film exceeded my expectations.

First of all, I am a sucker for subtitles. I think they’re a great way to expose oneself to the beauty of another language. While Basterds is an American film, it utilized not only English, but French, German, and a little bit of Italian, as well. Because of the diversity of idioms, a wide variety of actors took part in this film. There was, of course, Brad Pitt, with whom I was pleasantly surprised. I will make this very clear: I am a member of Team Aniston and like to praise Pitt as sparingly as possible. However, I also know to give credit where credit is due, and he deserves it for this role. Sporting a ridiculous Southern accent, he plays the All-American Lt. Aldo Raine, leader of the Basterds. He oozed a kind of cool nonchalance which was reminiscent of his larger than life Tyler Durden of Fight Club fame. Then there was Christoph Waltz, who was perfect in the role of Colonel Hans Landa, the “Jew Hunter” and clear villain of the film. He terrified me with his calm portrayal of the sociopathic SS leader. This year’s Academy Awards will probably feature either Waltz or Pitt (or maybe both!) among the nominees. The rest of the film was peppered with outstanding performances. BJ Novak as Smithton Utivich and Eli Roth as Donny Donowitz provided much needed moments of comic relief, while Diane Kruger as Bridget von Hammersmark and Mélanie Laurent as Shosanna brought to life a poised movie star/ spy and a tough but tragic antihero, respectively. One final notable performance was that of Daniel Brühl playing war hero Fredrick Zoller. He made me forget that he was a Nazi, until he made it abundantly clear.

In typical Tarantino fashion, and this film was pure (well done) Tarantino, the plot was familiar but not overly predictable. It was broken up into chapters and made use of many freeze frames, arrows, and floating text. There were two main storylines. The first followed Jewish escapee Shosanna in her exploits as a cinema owner and her unwanted courtship with a Nazi war hero (Brühl). The second tells the story of the Basterds, an American special unit sent to Germany with one mission: kill as many Nazis as possible, and maybe even end the war. The two plots never cross and are connected only by the Colonel Hans Landa. I wish I could give away the exciting parts, but I would hate myself forever for spoiling the fun. While this is probably the most historically inaccurate movie I have ever seen, it wasn’t trying to be anything that it wasn’t. I found myself laughing at the sick humor and smiling widely when something shocked me, which was quite often. When I go to the cinema, it’s because I want to be wrapped up in a movie. This movie took me through a wide range of emotions, from giddy to grossed out, and it certainly did its job as a summer blockbuster. Also, it involved the audience in the fun. It made frequent references to itself which, at least to me, made me feel sharp as a tack and included in the action.

My advice: If you don’t like reading, can’t sit still, or get bored easily, don’t go see this movie. There was definitely a bit of false advertising which made this movie seem like pure action and thrills, and while it certainly delivered, there is more to it than that. The writing is dark and clever, but there is a lot of dialogue to pay attention to. Personally, that’s my favorite kind of movie. If it doesn’t make you pay attention, why bother watching? That being said, the people I saw this movie with all seemed to agree that some scenes could have been cut shorter. I respectfully disagree, but they have a valid point. If you’re a fidgeter, skip this one.

I’ll be very glad if, in February, Inglourious Basterds gets some sort of Oscar Nod. What’s more, I think a film that includes great camera work, superb writing, exceptional acting, and a blend of shadowy comedy and shocking action deserves a little golden statuette. I bet the Academy will take this suggestion into consideration.

"You know, fightin' in a basement offers a lot of difficulties. Number one being, you're fightin' in a basement! "

Watch the trailer here: http://www.imdb.com/video/imdb/vi3738173977/

I Cried?

I have said it before and I will say it again: movies do not make me cry. I can count on one hand the films which have succeeded in finding what little piece of heart I have and tearing it up, specifically It’s a Wonderful Life, The Perfect Storm, Saving Private Ryan, and Milk. I recently had to add one more to The Short List after watching Martin Scorsese’s Gangs of New York. My advice to you: do not watch this movie after a very long day, especially if you have a reputation to uphold as someone without a soul. While I’m willing to bet that the circumstances under which I watched this film can be held accountable for the one or two tears I shed, the movie would not have gotten to me had it not been so brilliant.

My absolute favorite characteristic of a film is its ability to simply begin. No long, drawn out title sequences during which each and every member of the cast and production team (Thank you so much, Jimmy Johnson the gaffer!) is credited, no explaining, just a beginning. Gangs of New York certainly delivers in that department. Within the first ten minutes of the film, there was absolutely no turning it off. By that time, the major characters were introduced, a battle was fought, and a history lesson had clearly begun.

Based on the true story of the evolution of New York from a ragtag group of gangs to a bustling city, Gangs of New York focuses on a young man named Amsterdam Vallon (Leonardo DiCaprio) seeking to avenge the death of his father. His killer, Bill “The Butcher” Cutting (Daniel Day-Lewis) was based on a real gang leader from the late 1800s, when the movie is set. There are many aspects of this movie which deserve commendation, and the acting is definitely one of them. Daniel Day-Lewis was fascinating to watch. He took a role which easily could have been made into a caricature of a bad guy and added complexity. Whether it was his add-libbed contributions which provided The Butcher with a sense of humor, or his cold, terrifying portrayal of someone with boundless power, Day-Lewis unquestionably gave the performance of the film. Leonardo DiCaprio did not stand out so vividly, if only because Day-Lewis was so fantastic. The only role I thought was terribly miscast was that of Jenny, a pickpocket and love interest, played by Cameron Diaz. This could be a personal issue because I don’t think she’s an amazing actress in the first place, but I would loved to have seen someone with more pizzazz playing the part.

The score, composed of Irish folk songs and classical pieces (mainly “Brooklyn Heights” written by Howard Shore), was chilling. It was a little repetitive, but in a familiar, welcome way. The set, especially for the opening scene, was almost surreal in its simplicity and accuracy. The depiction of what I can only call tenements in wooden scaffolding form was unnerving, to say the least, and in direct contrast with the upscale mansions belonging to the wealthy characters.

My favorite thing about this movie is that a lot of it really happened. The secondary historical plots about the Emancipation Proclamation, the Civil War, and the influx of Irish immigrants were a welcome backdrop to the primary story line (which, by the way, is still based on a true story) and helped to keep the time period in perspective. We are taught political correctness in this era, so we shudder to think about some moments of our past. This is a spectacular and shameful moment for us to remember. The scene which made the movie for me is when the Irish immigrants fresh off the boat are issued a passport and a Union Army uniform and loaded onto the ships for the south. As they are walking up the gangway, the camera pans to the right and the audience is shown a coffin being lowered onto the docks next to hundreds of others. It’s poignant, distressing, and wonderfully subtle. Also, watch for the “timeline” scene. You’ll know it when you see it, trust me.

Realistically, I don’t know what got to me. It could have been my long day, and that is probably the story that I am standing by, but even more likely is the possibility that this film was just so good, in both the production and story departments, that I couldn’t help but let loose a few tears. Don’t get used to this.

“But for those of us what lived and died in them furious days, it was like everything we knew was mildly swept away. And no matter what they did to build this city up again... for the rest of time... it would be like no one even knew we was ever here.”

Watch the trailer here: http://www.imdb.com/video/screenplay/vi518717721/

I Know, I Know, It's A Cartoon...

I really, really hate to admit this because I don’t need any help making myself seem like a nerd, but I have been watching a lot of anime lately. Before you stop reading, and I know it may be tempting, consider this: The best way, in my humble opinion, to learn what a culture really values, sincerely enjoys, and is utterly terrified of is by watching their films. Every Japanese movie I have ever seen has been either a chilling horror flick or anime. I suppose it is a way of telling a great story while subtly teaching morals to a younger generation without being preachy, and that subtlety is what makes Hayao Miyazaki’s Castle in the Sky such a good movie.

When I was probably five or six, I remember watching another one of his movies, called Kiki’s Delivery Service. There was a preview before it which read Coming Soon in 1999! before showing a one minute trailer for Castle in the Sky. As a little girl, I remember desperately wanting to see it, but being too afraid to rent it. (Air pirates and cannons are scary!) Recently, a friend of mine asked me if I like Miyazaki movies, and that sent me back about ten years to when watching cartoons all the time was socially acceptable. I rediscovered Spirited Away and Kiki’s Delivery Service before stumbling upon (you guessed it!) Castle in the Sky. I didn’t plan on actually enjoying it, but I watched it as sort of a portal back to my five year old life. I was pleasantly surprised when, after about three minutes, I was hooked.

The first thing I really noticed about this movie was the animation. It’s gorgeous. It’s clear and sophisticated and detailed. The plot is fairly original, too, which made it easy to watch. The story follows a young girl named Sheeta who is in possession of a magical crystal, the missing link between our world and Laputa, the floating castle. She befriends a boy named Pazu and a motley gang of air pirates as they try to discover Laputa before the evil government representatives do. The plot is second in importance to the characters, though, especially those of Sheeta and Pazu. Both orphans, they don’t have anyone but each other to depend on from the moment they meet. The audience roots for Pazu from the start because of the way he treats Sheeta. He is very caring and it is obvious he would give anything for her. Sheeta herself is strong and smart, a fearsome combination in any movie. Together, they make an adorable set of friends. If anything bad had happened to either of them, I probably would have cried (and I don’t cry at movies).

Something else really worth mentioning is the score. Written by Joe Hisaishi, it is haunting and beautiful in all the right places. Most importantly, it knows when to disappear, and let there be silence. In the Disney release, the score is different from the original (still good, but different) and it intrudes into some of the empty space. The mark of a good score is when the audience misses it in its absence. I am seriously considering buying the entire CD.

One final thing that stuck me about this movie was the fact that, unlike so many children’s movies today, it did not treat the audience like a bunch of feeble-minded babies. It did not jam its kind little moral down the viewers’ throats. There was no Aesop’s Fables transparency, no cute little sum up, yet the moral was clearly imparted even without these things. It takes a good storyteller to master the art of nuance. There was more than one moral, too, and I think that every person who watches this movie will take something different away from it. That’s why I loved it so much; while the story was a bit predictable, the details were refreshing and surprising. Maybe if all cartoons were as delicate, complex, and sincere as Hayao Miyazaki’s Castle in the Sky, I wouldn’t be so embarrassed to admit my frequent viewing.

"Take root in the ground, live in harmony with the wind, plant your seeds in the Winter, and rejoice with the birds in the coming of Spring."

Watch the trailer here: http://www.imdb.com/video/screenplay/vi3437035801/

With Canned Pineapple Comes Universal Truth

Chungking Express. I was pre-disposed to like this film. I read about it in a memoir where it helped a struggling hero through a rough patch in his life, and I wanted it to fill me with the same feelings of hope and optimism. Honestly, I had no idea what to expect. Having only ever watched one other subtitled film to date, I didn’t have an accurate platform on which to decide whether or not I was in for an afternoon of hard work. I was pleasantly surprised when the film presented itself to me with a complex form of simplicity; that is to say it is complicated to describe, but a simple pleasure to watch. Unlike Pulp Fiction, or any other film I’ve seen with two or more seemingly unrelated plots, I wasn’t tempted to figure anything out. I was more than content to sit back and watch, captivated, as two very un-extraordinary plots unfolded.

In the first, a tasteful homage to film noir, a lovesick cop meets a mysterious blonde woman at a bar. Both simply seek the comfort of another human being, and they find it in each other. After that night, they never meet again within the confines of the film. As I have just described it, the plot sounds lacking and mundane, but the combination of superb acting and cinematography add elements of enthusiasm and excitement to the story. The moments were undeniably real, the dialogue is perfect, and the cinematography is breathtaking. There is one scene where the blonde woman is running down a crowded street. She is in soft focus, and every other person appears like a headlight in an overexposed photograph. For lack of a better description, it’s beautiful.

The second story follows yet another cop as he copes with the loss of one girlfriend and the potential gain of another. By this point, the genre had made a clean switch to a more buoyant yet realistic take on the romantic comedy. Both the cop, played by Tony Leung Chiu Wai, and the girl, played by Faye Wong, gave performances which, to me, epitomized honesty. I have never wanted to be in love more than I do after watching this film. The stories, though unrelated by characters, focused on a small take-out restaurant called Midnight Express, which acted as a thread to tie together the two plots. By watching Chungking Express, I have discovered the frailty of language barriers. While I did make use of the English subtitles offered to me on the DVD menu, I could understand by the actors’ expressions and movements what was happening, especially in the second half. These actors proved that watching something as simple as everyday life can be interesting, and as humans, we want to see those pure, unadulterated moments of joy and sorrow which go hand in hand in this film. We want reassurance that everything in our lives will work out for the best, even if all we have for proof is a smile and a Chinese cover of a Cranberries’ song to latch on to before the credits roll. To me, a good film is one that captures the essence of what it truly means to live, to laugh, and to love, even in the face of hardship and heartbreak. Chungking Express is most certainly a good film.

“If memories could be canned would they also have expiry dates? If so, I hope they last for centuries.”

Here is the English version of the trailer. Sorry for the low quality.

http://www.youtube.com/watch?v=ZkyRcGGeq8E&feature=related