CAREFUL

       It seems frighteningly appropriate that this first entry of ‘09 emerges upon April Fools’ Day. Even more so apropos that this premiere post of the year concerns itself with the film from which so much on this blog is derived. The heading, inscription -- even my own pen-name -- all taken from Guy Maddin’s Careful; now re-released on DVD, after being out-of-print for the better part of this decade. It’s a film that many (including yours truly) feel is his best feature; and I can unhesitatingly say that you’ll not see a better example of the German-Mountain-Traümerei/incestuous-romance genre this year... -- and most likely not in 2010 either; after that, all bets are off.


       Without wanting to reveal anything that would spoil the unworldly onlookers’ initial viewing of the film; Careful concerns the rather... -- convoluted..., let’s say -- love-lives of two brothers: Johann and Grigorss, as they muddle through butler-school training in the isolated alpine village of Tolzbad. It’s a settlement so precariously perched, that any stray upsurge of sound threatens to entomb the entire hamlet in a thick blanket of snow (hence, the title). The two brothers grapple with their respective amorous and familial misadventures; and with the looming presence of the mountains themselves. It all sounds oh-so melodramatic -- and it is! But the histrionics are largely played for laughter, if of the nervous variety; and like all of Maddin’s films, the seemingly campy is just a dainty cover for the emotionally raw. It’s a mode of filmmaking that seems like it must be disingenuous -- yet curiously, provokes exactly the opposite result (or does so, at least, in this viewer).


       Maddin’s an assiduously literary filmmaker. Influences upon the film include German Romanticism (in general), E.T.A. Hoffman, Thomas Mann, and most prominently, Robert Walser -- who also influenced the Brothers Quay in their adaptation of his novel, Jakob von Gunten, entitled Institute Benjamenta; which, for the record, is certainly the most impenetrably opaque film I’ve ever sat through in my life. Although that hasn’t stopped me from sitting through it a couple of more times, I might add. Much of the reason for this literary bent is the fact that every Maddin feature film (aside from his debut, Tales from the Gimli Hospital) is a collaboration with screenwriter, George Toles, a professor of Literature and Film Studies who teaches at the University of Manitoba; and who is as responsible as the man himself for the “Maddin style” (at least at the script level). And on an even more tangential note, Kyle McCulloch, who portrays “Grigorss” in the film, now makes his livelihood as a producer on South Park; and in addition, provides occasional vocal talent for the show -- including all the voices for “Canadian” characters.


       This DVD re-release of Careful includes some extras that were available on the previous edition -- like the fine documentary, Waiting for Twilight; about the making of another Maddin feature, Twilight of the Ice Nymphs. New to this edition include a commentary track by Maddin and George Toles. To those who’ve never listened to a director’s commentary on DVD -- if the prospect of hearing a director describe his film as “lensed in repress-o-vision” doesn’t compel you to give a listen, then let’s just assume it’s a practice has that zero appeal for you, now and forever. Also much improved is the video transfer itself; scenes that were impenetrably murky in the previous release are now merely foggily indistinct -- as they should be! All in all, “it’s must-see TV! (for the discerning cinephile)”.

Some links:
A brief scene from Careful.

Zeitgeist Films the releasing company that produced this fine release.

A brief scene from Archangel, an earlier Maddin feature.

Next post -- 04/06/09

My Take on '08

       One of the reasons -- over and above inherent laziness -- that it takes me awhile to get around to compiling these end-of-year film review lists, is that I like to take a look at a random sample of the same as written by other critics. Not so much to sway my own opinions; those are pretty much gelled by the time the end credits roll -- but just to get a feel for what the media-at-large feels is the better quality work produced in a given year; and therefore to figure out what they’ve overlooked. Truth be told, this year the critics seemed to zero in on most of the finer films released in 2008 -- and if some seem overly-lauded (... Benjamin Button?), at least the copious praise is being heaped upon movies that one could reasonably regard as good; hardly the case every year, let me tell you. As such, here’s my own list (an incomplete one at that; as I’ve yet to see Milk or Slumdog Millionaire -- serious contenders, both, it would seem), of worthy films from ’08. Not necessarily the best -- as if there could be an actual yardstick for measuring quality -- but just a dozen or so films that, for me, had somewhat more buoyant non-submersible units, than any other I saw over the course of the year. Here’s a brief rundown of each, presented more or less in the sequential order I saw them:

THE GUATEMALAN HANDSHAKE - A film I previously globbed about much earlier in the year. It’s a quirky film about quirky people who live in a quirky town -- if that seems like just too much quirk for you, stay away -- but I’ve watched it three times so far, and think it’s a fine, well-crafted, even poetic film; you might feel the same, if you bother to track it down and watch it.

SON OF RAMBOW - Critics were much harsher with this film than it deserved; its always struck me that movies intended to appeal to both teenagers and adults were a hard chord to strum (as opposed to, let’s say, a film intended to appeal to younger kids alone, for example); Son of Rambow manages to strike the right note, in my opinion -- without any maudlin tones or broken strings. Worth a look.

SMILEY FACE - Greg Araki is something of a critical darling with the media; but he’s never really made a movie I liked -- till now. Smiley Face is, quite frankly, a “stoner” comedy, but certainly nothing you’d see Cheech-n-Chong in; it’s the rarest example of its breed, an intelligent “stoner” comedy (thus possibly making it an unprecedented example of its breed, as well). Technically released in 2007, but with virtually no theatrical distribution, so I’m counting its DVD release this year as its “actual” release. Stars Anna Faris and John Krasinski; they’re funny, everybody else in it is funny -- you’ll laugh; in a year that saw the release of both The Love Guru and Meet Dave, isn’t that enough to ask?

WALL-E - Do I really have the extoll the virtues of this film at this point? I mean, hasn’t every other critic in the free world already done so? You’ve seen it, I hope. If you haven’t, you need to fix that, pronto. The opening thirty minutes or so are the best silent movie comedy since the days of Chaplin and Keaton. Sublime, and family-friendly.

KABLUEY - It’s the debut feature from Scott Prendergast, who made a couple of hilarious short films prior to this. As it’s his first full length movie, it’s not perfect; but it has a distinct and appealing style, and suggests better things to come. Be one of those who can say, years from now, “Oh yeah, I saw his first feature way back in ’08”. It’s now available on DVD.

THE DARK KNIGHT - Another film that I don’t really feel the need to extoll the virtues of. It successfully develops and brings to fruition themes hinted at in Batman Begins, and is not only the best Superhero film of the year, but also the best Crime and Action thriller as well. It’s not often that one watches a big-budget Hollywood extravaganza and walks away from it with one’s most salient memories being the characters involved -- but for me, at least, Dark Knight most certainly accomplishes that much. It’s the Superhero movie I’ve been waiting for; The Dark Knight is as much feared as he is respected; despised more than he is admired; and hunted rather than appreciated -- personally, that’s the Batman I’ve always wanted to see.

IN BRUGES - Another debut comedy, this time from British playwright Martin McDonagh. As comedies go, it’s as least as serious as it is funny -- but that’s what makes it so good. Colin Farrell stars, and Ralph Fiennes chews scenery; quite ably, thank you.

MY WINNIPEG - Also previously blogged about. Not his best film by a long shot; it’s rather too on-the-nose to be that. For me, the whole appeal of a Maddin film is how the personal themes are submerged into a familiar-but-skewed genre. In My Winnipeg all the cards are laid plainly upon the table, as it were, and the result -- while often hilarious -- isn’t as good as, lets’ say, Brand Upon the Brain!; which just might be his masterpiece; but spoon-fed Maddin is still oh-so more than palatable. Available on DVD exclusively through Blockbuster Video (at least, at the moment).

MAN ON WIRE - The best heist film I’ve ever seen in which nothing is actually stolen -- and it’s all true! James Marsh (who had previously done a rather lackluster adaptation of the non-fiction book, Wisconsin Death Trip) makes the best documentary of the year about an illegal attempt to walk from one of the Twin Towers to the other -- via high-wire cable! Incredibly gripping and should be seen by damn near everybody, quite frankly.

LET THE RIGHT ONE IN - Once again, previously blogged about below. Before this film, I quite frankly felt the whole vampire genre had been (excuse the pun), done to death. Let the Right One In puts a nice modern spin on it, and is just, in general, a classy piece of filmmaking -- rare enough in any bit of moviemaking; all the more so when the film in question falls within the Horror genre.

THE WRESTLER - Make no mistake -- the standout feature of this film is Mickey Rourke’s performance; but shying away from his usual penchant for cinematic razzle-dazzle, Darren Aronofsky makes a a very low-key, but downright beautiful film about a whole bunch of unsavory -- even unlikeable, characters. It’s effective, it's moving and nary a flash-cut to be found in the whole thing; Bravo, to all involved.

WENDY AND LUCY - Another subdued character study from Kelly Reichardt (and the only film on this list directed by a woman), maker of the excellent Old Joy a few years back. It’s a fine film, not so much a story as a just a glimpse into the life of a person who has to make some hard -- and quite possibly very bad -- decisions. Reichardts’ work much reminds me of the films of Lodge Kerrigan; but less concerned with pathology, so much as with simple human frailty. This is still in theaters, if you look for it.

This year’s BEYOND GOOD AND EVIL award goes to Frank Miller’s THE SPIRIT. Now, ordinarily this award would go to a "M - O - V - I - E". Which, one could reasonably regard as being an interconnected series of filmed scenes which more-or-less add up to a "S - T - O - R - Y”. Since I couldn’t really determine if any two random frames in this mess had any kind of cause-and-effect cohesion between them, I’m not sure that it could -- technically speaking -- be called a "Movie". Accordingly, you might want to steer clear of it -- if you value your sanity, that is. Let me tell you, Will Eisner is not just turning over, but actually spinning in his grave over this thing.

The BEST FILM SCORE (that nobody got to hear...) is Michael Giacchino’s symphonic piece, ROAR!, composed for Cloverfield; a terrible film, but the end title sequence (the only place in the film where the score is heard) is great. Incredibly evocative of Akira Ifukube’s music cues for all those Toho Godzilla films from my youth. You can download it from iTunes, if you’re so inclined.

And finally, THE ICARUS AWARD this year goes to Charlie Kaufman’s SYNECDOCHE, NEW YORK; like last year’s winner, Coppola’s Youth Without Youth (with which it coincidentally shares many thematic elements as well), it’s a very ambitious film whose reach exceeds its grasp. Which is not to say that it doesn’t have some fine performances, some stunning set-pieces and some engaging ideas. I’m not sure it all adds up to something you might call “entertainment”, however -- or even an experience that one might want to repeat.

       That’s my take on ’08; Not sure they’ll be anything worth gabbing about till late February -- but hopefully, once I do start globbin’ again, I’ll do so more consistently in’09...

LET THE RIGHT ONE IN

       With Halloween less than two weeks away, it seems appropriate -- and inevitable really, at least on this blog -- that the next couple of posts turn towards the Horror genre. As cinematic varieties go, the Horror film has a pronounced tendency to divide movie-going audiences -- there’s them that seem to watch nothing but; and then there’s others who’d sooner view a full season of Barney before the latest installment of Saw (and having had the unfortunate experience of sitting through the first one, you might count me amongst the latter...). Truth be told, there’s ample reason for the adverse reaction many people have towards the whole genre: endlessly repetitive plot-lines, gratuitous displays of brutality, acting that’s not merely bad but flatly incompetent -- Horror films have had more than their fair share of these offenses, and more. So when a truly exceptional film comes along that happens to fall squarely into the mainstream of the Horror genre -- but also works as a completely satisfying piece of filmmaking by any standard you might care to apply -- well, understandably it can be a hard sell to those who’ve been burned (Umm... Saw comes to mind again -- don’t see any of the Saw series; you’ll thank me one day...). Which is a shame, since Let The Right One In is most certainly one of the best films I’ve seen this year so far.


       It’s the year 1981 and some villages in rural Sweden are being plagued by a series of seemingly motiveless murders. Coincidently, 12 year-old Oskar is in his first year of high school and, having a hard time fitting in -- answering one too many questions in class to escape the notice of the class bullies. Lonely and frustrated, Oskar keeps to himself -- and on one cold autumn night, while outside on the playground, notices the just moved-in Eli; an oddly reserved and worldly-wise girl of about his age. Eli’s not too interested in befriending Oskar, but is fascinated by his Rubik’s Cube; managing to solve it in record time -- despite never having seen one before. Oskar can’t help but develop a crush on Eli; she seems completely unfettered by her unseen parents, is full of good advice for him and is decidedly unaffected by the snowy chill of their nightly playground visits. Meanwhile, the serial killings seem to be striking closer to home -- and the school bullies are developing a growing dissatisfaction with just pulling simple pranks on Oskar.


       Let The Right One In opens with a nearly silent credit sequence that may have you wondering if the projectionist forgot to turn on the sound system. The screen swirls with a light misting of snow as the soundtrack gradually gains in volume; only to reveal itself as the sounds one might typically hear on any dark wintry night; a light wind, cars driving by in the distance, and snow being compacted by heavy-booted footfalls. It’s an approach the film typically takes to reveal its story -- simple and understated -- with a refreshing absence of screeching violins and cats jumping out of cupboards. Things are simply revealed for what they are -- with the results revealed as being sometimes merely mundane, sometimes truly horrific... It’s worth pointing out the performances by the leads; they’re subdued, spot-on examples of film acting: Oskar (Kâre Hedebrant) and Eli (Lina Leandersson) simply seem to be what they are -- which makes what scares there are, all the more effective -- and prompts the audience to develop some genuine empathy for them.


       Let The Right One In opens in very limited release shortly; in L.A. and New York this upcoming weekend, then moving on to other major markets like San Francisco, Seattle and Denver in November. A DVD release is planned for some time next year -- and an English language re-make in 2010. Let The Right One In has such a perfect pitch as it is, that a re-make seems particularly superfluous in this instance. It seems pretty clear to me that this is the version to see -- But I'm not overly concerned, dear reader; I trust you to make the right choice...


Next post -- 10/27/08

MY WINNIPEG

       One could make the argument that all Art functions as art therapy. Whether we’re talking about Vincent Van Gogh or a sixth grader who’s been sent to the school counselor for dipping one too many girls’ pigtails in ink, they’re both painting for the same reason: they have some issues to work out, and some way, somehow, getting it all down on canvas (or paper, or clay...) makes the artist feel better. Conventional psychotherapy has it that art therapy is usually carried out through readily available mediums -- pen, paint... crayons even; sometimes music. Less often utilized are the various collaborative art-forms; dance, theater; but certainly not cinema though -- too costly to produce, too time-consuming to create, too... logistically difficult to carry out. That being said, I can’t say I’m all that surprised that Guy Maddin has managed to undergo just such a therapeutic option; financed by the Canadian Film Board no less. And now screening in theater venues around the country, for all to see, under the title of My Winnipeg.


       For this, Maddin’s first attempt at helming a documentary -- or, as he calls it, a “docu-tasia” -- his chosen subject matter is the history of his hometown: Winnipeg, Canada. The resulting effort, however, could more accurately be called a “docu-reverie”; because the history being recounted is not that of the actual city, but of Maddin’s recollection of it. The film is framed with scenes of Maddin himself (as portrayed by Darcy Fehr; a faux-filmmaker for a mock-documentary), attempting to leave -- escape even -- his native burg by train; but it’s a city he loves... maybe too much. Lulled asleep by the mechanical cadence of the locomotive, the documentary proper begins -- a fever-dream recollection of actual historical facts (including Winnipeg’s founding and geography); Maddin’s own family history (recreated as a series of filmed “experiments” in which Guy hires his ”mother” and actors to portray his family!); and the filmmaker's own visions regarding his native city (his home as he would imagine it to be, rather than as it really is). My Winnipeg mixes live-action, animation and presumably even some actual “documentary” footage in a fairly willy-nilly fashion -- which I suppose befits a film whose narrator is supposedly in a deep slumber.


       Whether you call it “art therapy”, “docu-tasia” or just plain self-indulgence, it’s also all pretty entertaining. Maddin’s take on the documentary form is playfully, even cheerfully irresponsible -- downright anarchic at times; for example: his apocryphal account of a popular soap opera from his youth -- Ledgeman! -- starring his “mother”; who, on a daily basis, attempts to talk a distraught Guy down from a dizzyingly high window ledge. Or a “recreation” of an early twentieth-century seance which turns into an extended ballet sequence -- makes me wonder why more documentaries don’t have dance numbers... For all its reliance upon hyperbole and outright fabrication, the movie is almost embarrassingly forthcoming regards Maddin’s personal and early family life -- the kind of stuff you only reveal to your psychiatrist -- and then maybe only in the fourth or fifth year of therapy (and even then, only if you really trust your therapist...). The appeal of all this personal revelation is that Maddin comes across as a flawed yet sympathetic sort; a fellow whose had his fair share of misfortune and, yes, even tragedy -- but who can’t quite muster the courage to take it all seriously -- even though it’s his own life he’s poking fun at. Oh well, Maddin’s character flaws are your ticket to a fun night at the movies -- would that your last therapy session was half this entertaining...


       My Winnipeg has already made its way through NYC and LA -- and will be released in a few more of the major markets (currently playing St. Louis; Atlanta supposedly soon to follow) before its inevitable DVD release. Check the sidebar for that, later this year.


Next post -- imminent!

DREAMS WITH SHARP TEETH

       The Documentary form is capable of far greater variety (in both subject matter and in its effect upon an audience) than usually given credit. Most people hear the word “documentary” and think -- I’m in for it now; 90 minutes to 2 hours of some cinematic polemic about this or that world-shaking crisis -- and many doc.s do, indeed, fall into this all too limited mold (An Inconvenient Truth comes to mind; oh sure, its relevance is undeniable and its message should be heard -- but it’s hardly compelling filmmaking). The last ten or twenty years however, have seen the release of many documentaries that break this mold. Humorous doc.s like those of Michael Moore or Morgan Spurlock. Deeply personal ones (and often deeply funny) like those of Ross McElwee. Cinematic “essays” like those made by Errol Morris, which make extensive use of re-creations (supposedly a “no-no” in any serious documentary). But one class of doc. that always seems in short supply is the character study; not a biography per se (there’s been a fair number of those made all along), but a film that simply documents a person -- as he or she really is. Such a film might include a degree of biographical background and historical documentation; but its real intent is to recreate the experience of meeting the subject of the film. It’s a difficult trick to pull off, as it not only requires a charismatic figure to make it work, but also said personage’s complete cooperation in the creation of the film as well. So when it does work, -- as it does in Dreams With Sharp Teeth -- it is worth noting.


       The subject of the film is the writer, Harlan Ellison. Ellison’s accomplishments and accolades would require the remainder of the length of this post to cover -- even briefly -- but suffice to say he’s one of the most notorious and recognized figures in science fiction (or speculative fiction, as he prefers to call it), having won a bevy of Hugos and Nebulas; but Ellison has also written -- and won awards for -- his Mystery and Horror stories (and won both the Edgar and Bram Stoker award multiple times). In terms of his accomplishments as a scribe, it would be a lot more economical to inventory the genres he hasn’t written for. The general public probably knows Ellison best as the screenwriter of two acclaimed tele-plays: The City on the Edge of Forever episode of Star Trek:TOS and an episode of The Outer Limits entitled Demon with a Glass Hand. Ellison’s life away from the typewriter is also detailed: his difficult childhood; his years as an activist (he participated in Martin Luther King Jr.’s protest march from Selma to Montgomery, Alabama); his brief and turbulent stint in the U.S Army; his rise to fame and fortune in NYC; and his eventual relocation to L.A. Any portion of the events covered would make for for an interesting anecdote; collectively they add up to an extraordinarily fascinating life story; a story corroborated by many of his fellow writers (including Neil Gaiman) and a notable celebrity or two (Robin Williams).


       Truth be told, this write-up is far from unbiased; I’ve been reading Ellison’s short stories since I was 11 and have come to regard him as one of my favorite writers. More damning towards my impartiality, perhaps, is the fact that I also actually worked on the film. As a segment producer, I had the opportunity to look at most of the interviews with Ellison myself -- and if the finished film hadn’t managed to put them together in a way that was both entertaining and accurate, I’d be the first... no, make that the second, after Ellison (who’s no stranger to complaining, let me tell you...), to level some harsh criticism -- fortunately there’s no need to. In presenting the man, Ellison is neither sugar-coated nor demonized; he’s contentious, at times abrasive, and quick to dominate any conversation he enters into; but he also has great integrity, the courage of his own convictions, and in the end, a considerable amount of compassion for his fellow man (well..., some of them, at any rate). And if he is at times quick to pummel others with his considerable verbal skill, ... well -- at least he has the courtesy to make his comments entertaining as all get out. If you’re going to be skewered, it might as well be done with style; and Ellison never fails on that front.


       Dreams With Sharp Teeth has yet to find “official” distribution, but having made the rounds on the festival circuit to mostly positive reviews, it seems to be creeping through the major markets. It opens at NYC’s Film Forum on June 4th, and plays for a week. After that... ? It seems likely that it will receive some sort of distribution on DVD or perhaps on one of the networks. Check the sidebar for future updates.


Next post -- 06/22/08