Hello Blogging My Old Friend

Wow! I hadn't realized how long my hiatus was until I started working on this post. Thankfully, I've got the whole interweb thing figured out and finally working so I will not be away for so long again. Can I just say I really missed you?

So much has happened, too much really, that I'm just going to focus on the films shown at my eponymous movie club. I'm really trying to take it back to my original intention so we are alternating between older/classic films and more modern fare. This year, I'm also trying to focus on a different genre each month and choosing a film that perfectly encaptures it.

Where we left off:

"The Apartment" (1960)
Director: Billy Wilder (Seven Year Itch, Sunset Blvd., Some Like It Hot, legend)
Starring: Shirley MacLaine, Jack Lemmon, Fred MacMurray
Academy Awards: Best Picture, Best Director, Best Screenplay, Best Art Director, Best Editing. Nominations: Best Actress, Best Actor, Best Supporting Actor, Cinematography, Best Sound

"The Apartment" is one of my favourite movies. I can remember seeing it when I was fairly young (big shocker) and didn't know what it was about. Now, it amazes me that this movie was made at all and I wonder if it could still be made successfully today. What would it be rated? Surely not the PG it received from the Hays office.

"I'm too old for that sort of thing, I mean; in a VW."

Bud (Lemmon) is a young man trying to work his way to the top at work. Unfortunately, he's a bit misguided and lets executives use his apartment for their trysts. When his boss Mr. Sheldrake begins to use it, he brings over the colourful and carefree elevator operator Bud likes named Fran (MacLaine). Soon it becomes apparent that this scheme isn't going to work out and Bud must come to terms with the consequences of standing up for the girl of his dreams and potentially losing his career.

"The mirror is broken."
"Yes, I know. It makes me look the way I feel."

"The Apartment" is full of the typical bon mots we expect and love from Lemmon and MacLaine and McMurray (of My Three Sons fame) is deliciously evil as a boss and lover with few morals or ethics. It is a must see for fans of comedy and the actors, as well as a must for those who place a high emphasis on award wins.

"Tomie" (1998/1999)

Director: Ataru Oikawa

Starring: Miho Karro, Mami Nakamura, Yoriko Doguchi

I saw this movie for the first time after the cover art caught my eye at Blockbuster. It is the kind of movie you watch and when it's over ask yourself, "What the heck just happened?" I couldn't have told you the story or what it was about other than there was a head in a bag and it grew a body (as if you need to know anything more than that!). I must have watched it three times and could never say more than that! If you like it, there are also several sequels of varying success. Watching this again with the club made me feel a bit silly. The plot is not nearly as absent as I remember, but the film is still an easy entrance to the world of modern Japanese horror films and perfect if you have a group with members who are uncomfortable around anything scary.

Tsukiko is a troubled young woman who can't remember what happened in her past to make her so. She seeks the help of a psychiatrist who through hypnoses uncovers a name- Tomie. Who Tomie was and why she is haunting Tsukiko becomes the core of the movie. At the same time, a detective is investigating a rash of serial murders that also uncovers the name Tomie. A young man has the aforementioned head in the bag and talks to it. It talks back. I won't give away more for fear of ruining it, but the identity of the killer, Tomie, and what happened to our heroine as a child are all revealed.

Perfect for lovers of Asian cinema and Japanese horror especially. Also good for anyone looking for a good mystery with a bit of blood in it.

"The Searchers" (1956)
Director: John Ford (Grapes of Wrath, Stagecoach, How Green Was My Valley)
Starring: John Wayne, Natalie Wood, Vera Miles, Jeffery Hunter
Awards: DGA nomination, AFI #1 Western, AFI Top 100 Films #12

To agree with AFI is a bit redundant, but this is my favourite Western as well. It showcases the quintessential Wayne hero/curmudgeon and is beautifully shot, acted, and written. What else would you expect from the grandfather of Westerns, Ford?

"Ethan, I gotta ask you and Martin to take a ride to the State Capital."
"Is this an invite to a necktie party, Reverend?"

Shortly after Ethan Edwards (Wayne) comes home from the civil war, his brother's ranch is attacked by Indians (sorry P.C. people!) and everyone is killed except his youngest niece who is kidnapped. Ethan forms a search party and spends years looking for her. Finally, he finds her, all grown up, and played by Natalie Wood in what would normally be an embarrassing performance. Having lived with the Comanche for so long, can she be rescued?

"That'll be the day."

"The Searchers" is a long movie, but one with enough weight and importance behind it to make the time sail by. The male actors really shine as does Miles, as the young woman in love with a member of the searching party. The film holds true today with its themes of racism, family, and war. A must for Western lovers, but seriously; if you're a fan of Westerns you've probably already seen it. Otherwise, it is simply a must see for everyone.

[side note: A great drinking game- Drink every time Wayne says something snarky or acts like a smart ass. You'll be pleasantly buzzed before the end of the first reel.]

"La Haine (Hate)" (1995)
Director: Mathieu Kassovitz
Starring: Vincent Cassel, Hubert Kounde, Said Taghmaoui
Awards: Best Director (Cannes), Best Editing, Film, & Producer (Cesar Awards), Best Young Film (European Film Awards), Best Director & Film (Lumiere Awards), Empire Magazine 100 Best Films of World Cinema #32

Mathieu Kassovitz made a name for himself by making films that addressed social and political subjects in a youthful and fresh way. Most American movie goers will know him as the love interest in "Amelie" and I encourage you to seek out his French films as well.

"Jusqu'ici tout va bien..." ("So far, so good...")

Centering around the race riots in the Paris ghettos, "La Haine" follows the lives of three friends during a 24-hour period. The trio represent an almost unlikely alliance in France: Vinz- Jewish, Said- Muslim, and Hubert- African/French. Each responds slightly differently to the riots and police brutality effecting their community. They both try to go about their day as normally as possible and try to find someone to blame for the beating of their friend Abdel. The ending is one that you will talk about for years to come and the conversation that stemed from this film was one of the best in the clubs history.

"La Haine" doesn't pretend to have the solution to Frances difficulty, not does it delve to deeply into what caused this horrific level of hate amoungst the haves and have nots, the white protestant and everyone else. It does give you something to think about. The film regained the spotlight again in 2005 after Kassovitz criticized then Home Office Minister Nicolas Sarkozy (now President) made racist comments following another bout of riots in and around Paris. The transcripts of those conversations is priceless!

WWQTW?

***Disclaimer and open letter to Blogger.com: I wrote this review yesterday, complete with photos and quotes and the whole nine yards. Then, Blogger, in its infinite wisdom, didn't save any of it. Thanks. You'll just have to take my word for it that the original post was hilarious and insightful. I'm not sure what can be said about this one.***

2005 was another year in which the majority of the public and, it seems, journalists; thought the Academy got it wrong. That year, "Crash" beat out critical favorite "Brokeback Mountain"; as well as "Munich", "Capote", and our film last night: "Good Night, and Good Luck". I'm not saying "Good Night" should have won, that place in my heart belongs to "Brokeback Mountain", but it is another example of when good films don't win. The sting hurts all the more that a movie that is basically an open casting for L.A. and two-steps from Lifetime won instead. Oh well.

"Good Night" was also nominated for Best Director- George Clooney, Best Actor- David Strathairn, Best Orginal Screenplay- Clooney and Grant Heslov, Best Art Direction, and Best Cinematographer. The cast, from the leads down to the day players, is heavy calibre talent: Robert Downey Jr., Patricia Clarkson, Frank Langella, Jeff Daniels, Matt Ross, and more.

What I liked best about this movie was the use of archival footage from the McCarthy trials and from interviews with the senator. For those unfamiliar, Sen. Joseph McCarthy lead what many considered a witch hunt through the ranks of America looking for communists and communist sympathizers. What made this probe even more intersting was its wide ranging scope. Not only citizens in government employ were targeted, but actors, writers, directors, and civilians. The U.S. was a scary place to live at the time. Clooney's decision to use real footage helps remind those of us too young to remember that what we are seeing is real.

The choice to shot in black and white also helps keep with the period in which the film takes place. Oscar winning DP Robert Elswit ("There Will Be Blood") camera work reminded me of a Cohen brothers movie ("The Man Who Wasn't There")- long static shots on unmoving faces, hand held through the news room, and often focusing on a background player while the actor speaking is out of focus. It sounds odd, but it really helped keep the audience fixated on what was important; namely the words and not the actions.

If you have not seen this movie, I highly recommend it. At about 90 minutes, it's a clear and concise view of the only TV channel that stood up to McCarthy (CBS) and the men who helped bring him down.

**** (4.5 stars)

WWQTW?: Diner

Sorry for the delay. This is my review for January's WWQTW? Movie Club. I started a new job at the new year, and it's taking me a bit longer than I anticipated to get back into the groove of blogging. Oh well, better late than never!

***** (5 stars)

Last night was our first meeting of the WWQTW? Movie Club. I really thought we needed a comedy a) because we have never had one yet and b) because now was the time for some laughs. What better way to start the new year than on a high? There were lots of yummy treats including hummus, fresh fruit, chips and dip, mint pea crostini (my creations by way of Jamie Oliver), King Cake (god bless Mardi Gras season), peanut butter pie, cookies, and more wine than we knew what to do with. Needless to say, my liver and stomach where very happy, then very sad with me.

This month's movie was Barry Levinson's "Diner" about a group of twenty-somethings in Baltimore during the '50s. The movie introduced the world to the acting talents of: Mickey Rourke, Kevin Bacon, Steve Guttenberg, Paul Reiser, Daniel Stern, Ellen Barkin, and Tim Daly. That's a seriously impressive cast, many of whom hadn't really worked much before. This was also Levinson's first film. He would go on to helm "The Natural", "Good Morning, Vietnam", "Rain Man" (AA- Best Director), "Avalon" (AA nominated), "Sleepers", "Bugsy" (AA nominated), and "Wag the Dog".

Modell (Reiser):  "We all know most marriages depend on a firm grasp of football trivia."

"Diner" is an hilarious movie about becoming an adult, finding love, keeping friends, and just living life. The movie was filmed chronologically for the most part with the diner scenes filmed at the end. Levinson wanted the cast to really feel like friends and many of the best lines were ad libbed as a result. The Popcorn Scene is one of the most famous in the film and has cropped up in pop culture ever since. Rourke bets the guys he can get the dream girl to feel him up at the movies. He takes the bet mostly because he's in a bad way over some gambling losses, but it's also a pretty telling moment for her character. Once in the theater, he unbuttons his pants and puts his penis up through the bottom of the popcorn box. When his date reaches in, she gets the shock of her life and Rourke losses the bet on a technicality. So funny!

Tim (Bacon): "All I did was I parked the car on a nice lonely road, I looked at her, and I said fuck or fight."

"Diner" is one of those movies your parents love because they were living that time and feel nostalgic, but it holds up. Not just since it's release in 1982, but as a movie about the past. Everyone can identify with the problems and humor that each character faces. We all know the cocky guy, the shy guy, the sports nut, the juvenile, the married guy, the funny one, etc. Because we can identify, we fall in love with the characters easily and stay in love even though we ourselves grow up and move from one label to the next. It is a great movie (with equally great soundtrack) that should be on every one's list.

WWQTW?: Orlando

Friday night was the last meeting of WWQTW? for 2010. I am so thankful to lead this club and love all the great discussions we've had over the last few months. I am working on some really cool movies and surprises for next year, but until then you're on your own! Check out my list of movies everyone should have seen (and the basis for what we watch in the club) here, or just click on the "wwqtw" label at the bottom to fill your days during the holiday season.

Back to Friday! We had a great turn out and even better eats! I'm going to have to start taking pictures of the spread: stuffed phyllo assorted bites, stuffed brie, crab dip, pizza rolls, Olive Garden salad (love!), and French silk pie to finish. My Sausage Tempeh Puff Pastries were a big hit as well and I will post the recipe on my food blog this week. I wanted to continue along the same themes as last meeting where we spoke about gender and identity from the perspective of "Queer Cinema", but this time I wanted to focus on female/feminist film.

"Orlando" (1992) was written and directed by Sally Potter and based on the book by Virginia Woolf. The novel itself was a love letter to Woolf's mistress Vita Sackville-West, herself an accomplished poet. The film begins in 1500 with the young Orlando (Tilda Swinton) becoming the confidant (and lover?) of Queen Elizabeth I. It is Elizabeth that urges Orlando to "...not whither, do not fade". Here the theme of immortality is introduced in the film. After the deaths of the Queen and Orlando's parents, he falls a sleep for some time and awakens in 1610 ("Love") and begins an affair with Sascha, a Russian noble woman. Later, in 1650, he begins a poem ("The Oak Tree") about his love and hatred of Sascha and women in general. In 1700 ("Politics"), Orlando is made the liaison to Constantinople and remains there until war forces him to rethink his priorities. When we next meet Orlando ("Society"), he is now a she. "The same person, no difference at all, just a different sex". The Lady Orlando now makes her way in the world of upper-crust society as a woman. The limits to her freedom and privilege as a woman are all the more harsh as she still thinks of herself as a man, or if not male than as equal to men. In 1850 ("Sex") she has a brief affair with Shelmerdine (Billy Zane) that ends when she is forced from her estate for being an unmarried woman. Now in the section named "Birth", we see Orlando as a successful mother who is only now able to live the life she always dreamt and be the person she always wanted to be.

The main themes of Orlando are love, immortality, and gender roles. When Orlando is a young man, he is a hopeless romantic more interested in love that station. It is not until he is in love that he recognizes the "treachery of women" and the pain that comes with pleasure. "I can find only three words to describe the female sex. None of which is worth expressing". He is happy then to live a quiet life, alone at home, meditating in the far East, or sitting in a salon (though now as a woman his opinion is worth less). Love comes knocking again in the guess of an American adventurer whom she proposes to upon first meeting. He, however, recognizes her spark and refuses. They have a wonderful conversation about what it means to be a "real man" or a "real woman". When he leaves, she has the exact conversation with him as she did with Sascha, only now Orlando speaks the woman's part and Shelmerdine speaks Orlando's. It is useful to note that the two loves of Orlando's life are both tied to the weather- Sascha must leave when the ice cracks and her ship can sail, while Shelmerdine must leave when the wind changes direction. It is a not so subtle metaphor, yet one that works.

Immortality is another theme of the film. Orlando lives over 300 years and sees and experiences the world in a unique way. He falls in love, breaks his heart, goes abroad, changes gender, falls in love, breaks his heart, loses his home, and generally looks for the meaning in all of it. It is finally in modern times that she is "no longer trapped by destiny" and can live as a free spirit.

Gender is obviously a theme here. Orlando lives multiple lives as both a man and a woman, but it is the female gender that he eventually sticks to and seems to have been working towards his whole life. It is as a woman that he can express himself more freely and avoid the things he finds distasteful. A woman can speak of love, avoid war and conflict, be the mistress of her own home, and an independent person. It is fascinating to see the history of the world played out over one persons lifetime. The way each subtle changes hits Orlando plays across his face. He winks, knowingly toward the camera.

Potter is known for her avant-garde film making style. Her films often seem to follow no discernible plot, characters break the forth wall, and the fantasy of the mind becomes reality. She is also regarded as a feminist filmmaker, though I don't hear her male counterparts labeled as misogynist filmmakers like a badge of honor. Her first film starred Julie Christie as a movie star who tries to understand her roots. It has no real plot and the script is a bit weak. She spent 9 years working on the "Orlando" script, trying to show her detractors that she was capable of a good script. She succeeds here and makes one of my favorite, little appreciated movies here. She followed it up with "The Tango Lesson" in which she also stars. It's better than "The Gold Diggers" but her refusal to write in the Hollywood standard of 3-arch narration may turn many viewers off. Truth be told, the only other movie of hers I liked was "The Man Who Cried" starring Johnny Deep and Christina Ricci. It tells the story of a Russian Jew (Ricci) who is separated from her family as a child. As an adult, she becomes a professional singer, falls in love with a gypsy (Deep), and searches for her father as the Nazi's invade France. Her most recent film, "Rage", is the story of a murder at a fashion party told through the interviews a blogger conducts on the scene. There is no set, only a plain brightly coloured backdrop and the actors speak directly into the camera. While it is an interesting concept, it quickly becomes tiresome and boring.

Tilda Swinton is one of my favorite actresses in history, hands down. She (finally) won an Oscar in 2008 for "Michael Clayton", and has been nominated for several awards for her work in "Curious Case of Benjamin Buttons", "Burn After Reading", "Young Adam", and "The Deep End". I also love her as the angel Gabriel in "Constantine". She is a fearless actress and great talent. The whole club was in agreement that we could not think of any other actor to play the role of Orlando. Her voice subtly shifts up a register when she becomes a woman, and the knowing looks she gives the camera take on a whole new meaning. She would have to be sympathetic for the film to be successful and she is.

The film was nominated for two Academy Awards in Costume design and Art Direction. It is amazing to think this film was made for roughly the equivalent of $8 million. Costume designer Sandy Powell would go on to win 3 Oscars for her work in "Shakespeare in Love", "The Aviator", and "The Young Victoria". It truly is a beautiful film to watch, though the DVD transfer is sometimes a bit sketchy. Maybe it was just my copy. The transitions between decades/chapters was often done on screen and followed by a title card instead of the other way around. This seemed to confuse some of the club (While running through a hedge labyrinth and going from 1750 to 1850: "Where did she find a change of clothes?" -"There was a hedge of requirement?").

Further viewing: The Gold Diggers, The Man Who Cried, Mrs. Dalloway, Thelma & Louise (the male perspective to feminist film), Hedwig & The Angry Inch, Transamerica, The Fountain, Looking for Mr Goodbar, Frida, Lovely & Amazing, The Piano, The Virgin Suicides, The Namesake, Gas Food Lodging, Personal Velocity, Brief Crossing,

WWQTW? part three

In conclusion, here is what has been suggested to add to my list of best and most influential movies. To follow our club, just look for the "WWQTW" title or post label.

Happy Watching!

Part Three: Fin (in no particular order)

Princess Bride
A River Runs Through It
Shawshank Redemption
Sleepless in Seattle
Lord Of The Rings
The Great Gatsby
Pride and Prejudice
American Psycho
The Count of Monte Cristo
It's A Wonderful Life
A Christmas Story
Forrest Gump
Dark Knight
Fight Club
American History X
To Kill a Mockingbird
Full Metal Jacket
The Green Mile
Cool Hand Luke
The Big Lebowski
Stand By Me
Goonies
Crash
An Affair to Remember
(500) days of Summer
Tootsie
Patton
The Notebook
Airpane!
Alice in Wonderland
Blazing Saddles
Spaceballs
Boogie Nights
The Breakfast Club
JFK
Die Hard
Driving Miss Daisy
Steel Magnolias
Fried Green Tomatoes
Edward Scissorhands
Mary Poppins
Romeo and Juliet
Million Dollar Baby
Annie
Noises Off
Clue
Full Metal Jacket
Requiem for a Dream
Hotel Rwanda
Gladiator
Heat
Donnie Darko
Children of Men
Rosemary's Baby
Dead Man
Buffy the Vampire Slayer
Inglourious Basterds
Reality Bites
The Professional/Leon
Last Temptation of Christ
Rushmore

WWQTW? part two

ARCHIVE 1/29/10

Here is the completion of the original 215 movies on my most influential list . The additional selections as voted by it's members will publish next Sunday. As always, feel free to leave your opinion.

Happy Watching!

Part Two: The Turn (in no particular order)

Lost Horizon
Mr Smith Goes to Washington
Rebecca
Henry V
Breathless
The 400 Blows
The Exorcist
Dog Day Afternoon
The Turning Point
Ordinary People
Raiders of the Lost Ark
Terms of Endearment
The Big Chill
Amadeus
The Grifters
Mississippi Burning
The Crying Game
Fargo
L.A. Confidential
Good Will Hunting
Elizabeth
Traffic
The Hours
Chicago
Mystic River
The Departed
Lost in Translation
Brokeback Mountain
Good Night, and Good Luck
No Country for Old Men
Michael Clayton
The Naked City
Carrie
Seven Brides for Seven Brothers
Baby Doll
Saturday Night and Sunday Morning
Quadrophenia
Last Year at Marienbad
Jules et Jim
Zulu
Das Boot
Wings of Desire
Rashomon
Au Revoir les Enfants
The Commitments
Delicatessen
Amelie
Trainspotting
All About My Mother
Belle du Jour
Run Lola Run
Lock, Stock, and 2 Smoking Barrels
American Beauty
Crouching Tiger, Hidden Dragon
Malena
Life is Beautiful
Amores Perros
Monsoon Wedding
Y tu Mama Tambien
Eternal Sunshine of the Spotless Mind
Shaun of the Dead
Pan's Labyrinth
Persepolis
Suspiria
The Thing
An American Werewolf in London
Battleship Potemkin
Ferris Bueller's Day Off
Clerks
Gilda
Them!
Rocky Horror Picture Show
Monty Python and the Holy Grail
The Prime of Miss Jean Brodie
Fahrenheit 451
Midnight Cowboy
Jason and the Argonauts
El Mariachi
Some Like it Hot
Plan 9 From Outer Space
Boondock Saints
eXistenZe
Hard Eight
The Sweet Hereafter
Nowhere

WWQTW?

ARCHIVE 1/29/10

 

Below is the original list of movies I compiled for my movie club. I made my selections from AFI, the Academy Awards, Golden Globes, BAFTA, and my Netflix. Then I slimmed the list even more by removing movies that were unavailable to rent, that were dated (in a bad way); as well as a few other gems just to see if anyone would catch them. Tricky, I know. Finally, I forced myself to stop when I hit 215 movies. This list was sent to those participating in the club (as well as my folks) who were asked to mark each as "Seen it", "Want to see it", "Don't care", or "Own it". There was also space for them to include whatever movies they felt deserved to be on the list.

When you hear a number like 215, it seems daunting. I mean, at one movie a month, that's 18 years worth of movie watching not even counting the add on's. Certainly, we are not going to watch every single movie on the list. The goal, as I see it, is to watch a select few then offer further viewing selections.

Part One: Epilogue (in no particular order)

Citizen Kane
The Godfather
Casablanca
Raging Bull
Singing in the Rain
Gone with the Wind
Lawrence of Arabia
Dr Zhivago
Schindler's List
Vertigo
Wizard of Oz
City Lights
Star Wars
Psycho
2001: A Space Oddyssey
The Graduate
On the Waterfront
Chinatown
ET
High Noon
All About Eve
Apocalypse Now
The Maltese Falcon
3 Days of the Condor
One Flew Over the Cuckoo's Nest
Annie Hall
King Kong
Bonnie and Clyde
The Philadelphia Story
A Streetcar Named Desire
West Side Story
Taxi Driver
The Deer Hunter
M*A*S*H
Jaws
Rocky
American Graffiti
Nashville
Gosford Park
Cabaret
Network
Unforgiven
A Clockwork Orange
Saving Private Ryan
Butch Cassidy and the Sundance Kid
Silence of the Lambs
In the Heat of the Night
The Wild Bunch
The Apartment
Reds
Spartacus
Titanic
Easy Rider
Platoon
12 Angry Men
The Sixth Sense
Pulp Fiction
Sophie's Choice
Goodfellas
The French Connection
The Last Picture Show
Do The Right Thing
Blade Runner
Toy Story
Ben-Hur
Miracle on 34th Street
Hoosiers
Norma Rae
Philadelphia
Glory
The Sound of Music
The Color Purple
Dead Poet's Society
Close Encounters of the 3rd Kind
Braveheart
Rain Man
Silkwood
Thelma & Louise
Serpico
Harold and Maude
Fame
The Way We Were
Wuthering Heights
When Harry Met Sally…
Ninotchka
A Star is Born
Last Tango in Paris
The English Patient
Breakfast at Tiffany's
Sense and Sensibility
Looking for Mr Goodbar
Dirty Dancing
Grease
Alien
Bambi
Groundhog Day
Scarface
The Day the Earth Stood Still
Invasion of the Body Snatchers
Back to the Future
The Searchers
Caddyshack
The Usual Suspects
Seven
Kramer Vs Kramer
In Cold Blood
Judgment at Nuremberg
Little Women
Brick
Dazed and Confused
Night of the Living Dead
Lonesome Dove (TV Movie)
Casino
Cleopatra
The Thin Man
Mutany on the Bounty

WWQTW?: Nowhere

ARCHIVE

I could not have been more nervous and excited to reveal the movie on Monday. For the most part, we have been watching classics (both new and old), and I thought it was about time to shake things up. The purpose of the club has always been to educate and expand the movie knowledge of its members. This month, I didn't just want to expand, I wanted their brains to explode! So, I screened one of my favorite movies of all time- "Nowhere" by Gregg Araki.

Released in 1997, "Nowhere" tells the interconnected stories of a group of teenagers living in Los Angeles. The action takes place in the 24-hours leading up Jujyfruit's party. The main character is Dark (played by the amazing and frequent contributor to Araki's films, James Duval). He is the quintessential existentialist; always worrying about the future, life, love, and himself. He's in love with Mel (Rachel True, "The Craft") but she's only in love with sex and she doesn't care where she gets it. Dark is equally confused when his masturbatory fantasies are invaded by new kid Montgomery (Nathan Bexton, "Go"). Dingbat (Christina Applegate- one of the best in the cast) is looking for love in all the wrong places. Egg (Sarah Lassez) falls for the charms of a famous heartthrob. Alyssa (Jordan Ladd) appreciates the kinky side of life with her boyfriend Elvis. Her twin brother Shad and his girlfriend Lilith (Ryan Phillippe and Heather Graham) fancy themselves anarchist's in the same vein of "Natural Born Killers". Cowboy (Guillermo Diaz, "Chappell Show") is looking for his drug addled boyfriend (Jeremy Jordan, "Never Been Kissed"); and a very young Mena Suvari is looking for the party with her boyfriend (and Mel's brother).

Cameos abound with Gibby Haynes of rock band Butthole Surfers plays jujyfruit; Rose McGowan (also in Araki's "The Doom Generation"), Traci Lords, and Shannon Doherty are a trio of Valley chicks; Christopher Knght and Eve Plumb from "The Brady Bunch" play some parents (Araki seems obsessed with the Brady's, referencing them in several films); John Ritter is a televangelist; and Beverly D'Angelo is Dark's mom.

[side note: In my dream film where I pay homage to everyone I've ever loved, this recurring theme of casual, big name cameos will appear. As will direct references to this movie and "The Doom Generation". I love him that much.]

I don't remember exactly when I first saw this movie but I think I sought it out after watching "The Doom Generation". It introduced independent cinema to me in a totally new way. Previously, independent meant "Pulp Fiction" and "sex, lies, and videotape". Now, there was a filmmaker doing it for himself and showcasing subject matter I was more familiar with. Life isn't a John Hughes movie much as we wish it were. Instead actions have consequences. Sometimes it means your car gets high jacked by a trio of crazed hackers. Sometimes you stick your head in the oven. Sometimes you can't decide between two guys and wind up losing both of them. Sometimes it means you end up alone.

Araki has been the face of gay independent cinema for years, a title he would happily relinquish. A member of what a "New York Times" critic dubbed the New Queer Cinema, Araki was one of the first to address gay, bisexual, straight issues in the same breath. Furthermore, these characters where not ostracized from their peers. They were represented in a positive light free from cliche or stereotype. Actually, it might be more fair to say they were just as fucked up as any other character in the film! Blame it on my fairly young age or naivete, but it's hard for me to remember that this is a new concept; that gay culture was addressed in a derogatory tone. In an interview with the "Montreal Mirror", he says "I like to be thought of without any kind of adjective attached to it. A gay filmmaker, a Gen-X filmmaker, an Asian-American filmmaker--I'd just like to be thought of as a filmmaker. I don't make films to be thought of as a spokesperson or to toe any politically correct line. I approach films in the way a musician approaches music. It's just my means of expression, my chosen medium." However, it's impossible not to think about how his own experiences have influenced his "chosen medium". That being sad, I appreciate such a personal filmmaker who refuses to talk about his personal life. He's said all he has to say- It's on the screen.

Gregg Araki has never shied away from controversial subjects and visuals. His films usually address the misanthropy of youth that comes with being an outsider. His characters come from the sub-culture. They're gay, poor, violent, dumb, exceedingly smart, creative, lost, derelicts. There seems to be no shame to the actions performed by its characters. Most get away with murder, at least for a little while. One of my favorite scenes in "Nowhere" involves three Valley chicks waxing poetic (more like moronic) in complete oblivion to what is going on around them. Next thing we know, they've been zapped with a laser gun by a visiting alien (dead? abducted?). All that's left behind are their retainers. It's classic!

This movie is not for the faint of heart or prudes. It is a hard "R" and you will either love it or hate it. Unfortunately, it is not available of DVD so head to your local indie movie store or you can catch it on IFC. It's showing September 26th so check your local listings.

Recommended viewing: Also by Greg Araki The Living End, The Doom Generation, Mysterious Skin. Also Mallrats, Donnie Darko, All Over Me, Empire Records,

WWQTW?: American Werewolf in London

Last night was our first WWQTW (What would Quentin Tarantino watch?) on a Friday night and I think it went pretty well. In honor of it being Friday the 13th, I decided we should watch something scary or at least in the horror vein of things. My choice? "An American Werewolf in London". I love this movie!

Released in 1981, "Werewolf" is directed by John Landis (Love!) and stars David Naughton, Griffin Dunne, and Jenny Agutter. Landis first wrote the script in 1969 but had to shelve it when no one would give a "nobody" money for a horror pic. [side note: Thank god he didn't go to Roger Corman. No offense, I love Corman pictures, but they would not have done this film right] After making "Kentucky Fried Movie" and "The Blues Brothers" he was able to dust off the script and give it a go. Naughton was most notably known as the Dr Pepper guy and went on to appear in TV ("My Sister Sam"). Dunne has had a more illustrious career, appearing regularly in TV and film ("Johnny Dangerously", "My Girl", "Quiz Show").

While backpacking through England, friends David and Jake find themselves lost in the moors. They stop into a local pub to escape the cold but are quickly sent away as outsiders. Out on the moors, something attacks them killing Jake and injuring David. When David awakes, he finds he is to become a werewolf and his friend is forced to walk the earth as a ghost until the wolves bloodline is severed. Agutter plays the nurse who takes a shine to David and invites him into her home.

"Werewolf" is an important film for several reasons. First, the make up artistry of Rick Baker is genius. Films like this (utilizing practical make up and appliances) will always hold up to their CG brethren. Baker was the first recipient of the Academy Award for Best Make up (many say the category was created to honor him), and would go on to win 5 more. His other works included "Star Wars", "Videodrome", "Thriller" music video, "Batman Forever", "Men in Black", and "Hellboy". It's safe to say I have a bit of a crush. When I was younger, there was a travelling show of movie FX that came through Dallas. It was amazing! We got to see the alien queen from "Alien", the grandmother from "Psycho", and the werewolf head from this film. Up close it was just as impressive as on screen.

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Second, the writing and direction of Landis is smart, funny, and never panders. It sets the tone for comedy in a horror setting that has become popular with more modern filmmakers. I love the recognition that in fear comes comedy. Landis utilizes medium and full shots, saving the close ups for David's transition and close ups of the werewolf only. It's smart and the British mentality perfectly captured.

Third, I love anything from John Landis because he always gives a wink to the audience. I always thought if I ever made movies I would insert little homages to films and people I love. Most of his films feature the tag "See you next Wednesday" (from a "Dr Strangelove" quote), popular music that relates to the film (in "Werewolf" all the songs featured the moon in it's lyrics), and cameos from other people in the industry (look for Frank Oz, the voice of Miss Piggy, in several of his films). They go unnoticed to most people, but these built in Easter eggs are the bread and butter of movie fans the world over.

The film is rated "R" and even taking into account the way films were rated 30 years ago (I mean, "Jaws" is PG people), it remains an "R" rated film for some nudity, sexual situations, language, horror violence, and gore. That being said, I must have been 13 or younger when I saw it and look how I turned out!

WWQTW?: Vivre sa Vie

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Last night was the 3rd meeting of my intro to film/movie club WWQTW? (You can check out previous installments by clicking on the tag below). I was SO excited about this meeting as we were going to watch what may in fact be my favorite film of all time. Usually, when asked what my favorite movie is, I demure and say I'm not sure. This is a lie. Sometimes, I say the name of a movie I think they would like or appreciate me saying is my favorite. This happens rarely. Usually, I pick one of two pre-set answers based on the person asking the question: "Heavy" or "Pulp Fiction". Now, I love these two films. "Pulp Fiction" was the first time I fully understood the film making process and what it meant to be a director. I can vividly recall the night I saw it at Collin Creek Mall. It was a Saturday... "Heavy" is my go to film with other film buffs. It's the first feature from James Mangold (Girl, Interrupted; Copland) and stars Live Tyler and Pruitt Taylor Vince. I can't watch the trailer for this movie with welling up with tears- and I never cry!

All this being said, my favorite movie is probably "Vivre sa Vie" or "My Life to Live (A Film in 12 Scenes)". I never mentioned it because it was out of print until this year and very difficult to find. It took me almost a year of searching online to find a legitimate print to order. It always seemes mean to say your favorite movie was one that no one could see; like wearing amazing boots you got from a trip to Tokyo just so you could say, "Oh them? Their Japanese". Now, thanks to Criterion, everyone can see this lost gem by Jean-Luc Godard.

Nana: "I forget I'm responsible, but I am."

Released in 1962, "Vivre sa Vie" tells the story of Nana (Anna Karina- Godard's wife at the time), a young woman who abandons her husband and son to try to make it as an actress. Instead, she falls into a life of prostitution (coincidentally called "the life" in France) and self analysis. I chose this film not only because I love it, but also because I believe it best expresses the mission and aesthetic of the Nouvelle Vague movement. The French New Wave created one of the most influential movements in cinema of all time: The idea of director as "auteur", the alienation of the audience, the subtle winks at the knowledge that what you were watching is fictional, the lightweight movement of the camera and free flow of sound that makes you believe it may in fact be documentary (see: cinéma vérité). The New Wave strived to show real life in cinema, while never forgetting you are watching a movie.

[side note: When I grow up, I want to be Anna Karina. Just saying.]

Godard is considered by many to be the most provocative and extreme filmmakers in the genre. In "Vivre sa Vie" he uses title cards to separate the action ("Reminds me of a play," says Steph. We then digress into a discussion of the many versions of the bible!). The camera is kept in medium and close up shots with no real masters. At anytime in a conversation, it may wander/pan to the window, the street, the back of someones head. We are constantly put in the position of voyeur while being reminded that what we see is not real. At first, this camera movement was distracting (and somewhat nauseating) to many of last nights viewers. After a quick smoke break (Nana, as well as everyone in the film, smokes so frequently it's hard to refrain oneself), the movement was seen as another device created to capture the full attention of the audience. Even after repeated viewings, I find myself leaning to the right or left, attempting to see what is just out of frame. Godard also didn't believe in explaining his films to people. It is up to you as the audience to decide what they are about. In conjunction, the backgrounds of his characters are often omitted and we jump forward in time without warning or notice. Godard's refusal to explain the motivations of his characters creates the effect of alienating the audience, it "displaces you" (Word of the day Jennie). Yet, it is only in the coercion of the viewer to decide for themselves that he makes us an active participant in what is normally a passive experience.

Nana: "Escape is a pipe dream."
"Why"
Nana: "That's life."

Godard's ability to write for women should also not be overlooked. Just as in "Breathless", he creates a modern woman who elicits confusion, anger, sympathy, and recognition from the audience. We end up identifying with Nana, especially after Chapter 11 when she meets the philosopher in the cafe. In him she finds a kindred spirit, a good listener who is not interested in her for money or sex. She dreams of a bigger and better life, of the power of love and words, of the question of happiness and life itself. It is a decidedly human experience wrapped around a rather unusual circumstance. After her meeting with the philosopher, "it gave me more insight into her thoughts and feelings. Before, I didn't like her... Then she became a real person" (Steph Too). Much is said about the Edgar Allan Poe story read to Nana by her lover, but I saw little online that mentioned the story from "The Three Musketeers" that was told to her by the philosopher. While the Poe story ("The Oval Portrait") may convey the feelings of the auteur to his muse, it is in the Dumas story that we learn more about the muse. That everything that has happened before led us to this quite and short moment, that the final chapter of the story that follows sums it up; is testament to the power of words, the lack of them, and for keeping your cards close to your chest. The audience is stunned when the film ends, I know many of the club was, and it is only moments after it ends that the conversation starts flowing. Steph Too points out here that "in current American film, [knowing Nana's background] would have given us more closure. Here, that's not the point. That's not what I'm used to."

The Philosopher: "An instant of thought can only be grasped through words."

Suggested viewing:
also by Godard: "Breathless", "Weekend", "Pierre le Fou"
Francois Truffaut: "The 400 Blows", "Jules et Jim"
Alain Resnais: "Last Year at Marenbad"
Claude Chabrol: "Le Bonne Femmes"
Jacques Demy: "The Umbrellas of Cherbourg"
Spike Lee: "She's Gotta Have It"

Quentin Tarantino: "Reservoir Dogs" [side note: Tarantino's production company is called A Band Apart after Godard's film "Bande a Part" about a heist gone wrong.]
Bernardo Bertolucci: "The Dreamers" (NC-17)
Jean Cocteau: "Orphee", "la Belle et la Bete"
Jean-Pierre Juenet: "Amelie", "Delicatessan"

WWQTW?: All About Eve

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Monday was the 2nd annual WWQTW? meeting, and it was a total success! We ate delicious food and watched "All About Eve".

FUN FACTS:

Released in 1950, it garnered 14 Oscar nominations and snagged the Best Picture, Best Screenplay, Best Director, and Best Supporting Actor- George Sanders. It is the only film in which 4 woman were nominated for acting awards for the same film. It won Best Film at that years BAFTA's, as well as the Golden Globe for Best Screenplay. When it premiered at Cannes Film Festival, it received a Special Jury Prize and Bette Davis won Best Actress. It is currently #28 on AFI's Top 100 Movies list and a must see! The director, Joseph Mankiewicz, is the only person to have won Best Screenplay and Best Director two years in a row (He won the previous year for "A Letter to Three Wives"). When Claudette Colbert injured herself shortly before shooting was set to begin, she was replaced by Bette Davis and the rest, as they say, is history!

Based on a short story by Mary Orr, "All About Eve" tells the story of veteran stage diva Margo Channing (Davis) and her relationship with a precocious fan, Eve (Anne Baxter). Eve has seen every performance of Margo's and waits for her patiently outside the stage door hoping for a glance at her idol. She befriends Margo's best friend Karen who introduces them. Eve is the best possible friend to have- she does whatever Margo asks of her ("This is how they dealt with stalkers in that day? Just embrace them?"- Lauren). Of course, nothing is as it seems. "All About Eve" is the seminal film about ruthless upstarts and show business. It is also a great example of female relationships both towards each other as well as the men that inhabit their lives. I think Megan said it best, "[The] complexity of female relationships and the guys didn't get it!" It certainly says a lot for Mankiewicz's talent as a writer! Eve effects, both positively and negatively, everyone she comes into contact with. If one person turns her out, she moves on to the next closest person and tries to integrate herself into their lives. It presents woman in a very modern way while still holding strong to the beliefs and conventions of the time. Margo is unhappy and single; she does everything in her power to push her beau away (tres modern). Karen is blissfully naive and married (repressed). They all drink and smoke and cavort in ways that are more than simply "implied, it's obvious" (thanks Lauren)!

My favorite quote from the group came from Stacy, out illustrious host: "hell, I'd marry his dead corpse, it's still better..." I really wish I had written down the context of this remark, so if you were there please let me know!

Our groups was enamoured of the writing style immediately and kept taking notes of clever dialog throughout the viewing. The acerbic wit spouted by Davis and the other characters (George Sanders' DeWitt, a newspaper critic, is a close 2nd for the best lines) would be best described as Parker-esque (see: Dorothy Parker). A few of my favorites:

"With Eddie gone, my life went back to beer"- Eve

"Fasten your seat belts, it's going to be a bumpy ride" -Margo (one of the most famous movie quotes ever)

"Why do they always look like unhappy rabbits?"

"Because that's what they are"- Miss Caswell (Marilyn Monroe in her 1st film) to DeWitt

"Everybody has a heart, except some people" -Margo

"Groom, may I have a wedding present"?

"What would you like? Texas?" - Margo to Bill

RECOMMENDED VIEWING:

The Player, All About My Mother, The Talented Mr. Ripley, Stage Door, A Star is Born (1937), Whatever Happened to Baby Jane?

Next month, I promised to pick a modern (i.e. in colour) film. I'm still not sure how mean I feel like getting, but I think something a bit obscure is called for. The whole point, as I see it, of WWQTW? is not only to expose it's participants to the films they should have seen; but also to those that many haven't seen. It is only in encompassing smaller genres or big names in little pictures, that one can call themselves a cinephile. It is my goal to get at least half of the group to feel confident enough to label themselves that within a year!

WWQTW?: Raging Bull

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Last night was the first meeting of WWQTW movie club and it was a complete success! We enjoyed an intimate movie watching experience with 5 (plus me) ladies. For future reference, planning a movie night so close to the St. Patrick's Day celebrations was probably not a great idea. Oh well, you live and learn! I couldn't be more pleased with how everything turned out. Everyone was enraptured by the movie and the dialogue following was insightful and revealing. "He makes you pay attention...[afraid you'll] miss something", says Word-of-the-Day Jennie.

If you haven't seen "Raging Bull", here's the 411:

Directed by Martin Scorsese and starring his frequent collaborator Robert DeNiro, it tells the true story of Jake LaMotta; rising boxing star from the Bronx. The movie co-stars Cathy Moriarty (her first film!) and Joe Pesci (his 2nd!). Shot in beautifully black and white by Michael Chapman (DP on over 45 movies) and edited by Thelma Shoonmaker (go lady! She has been Scorsese's editor ever since). It was nominated for 9 Academy Awards including Best Picture, Best Director, Best Cinematography, and best Supporting Actor and Actress. It won for Best Editing and Best Actor. It was nominated for 4 BAFTA's and won Best Editing and Outstanding Newcomer-Male for Pesci. It was nominated for 7 Golden Globes and won for Best Actor. At the time, no one would have predicted it would now be named the 4th most important film in history by AFI.

This acclaim surprised no one more than the director himself. Having come off a loss ("New York, New York" aslo with DeNiro), Scorsese believed this film might be his last. In reality, it cemented his legacy as a prolific American filmmaker, the visual style for which he would become known, and influenced generations to follow.

What I love most about the film, is the relationship between DeNiro and Pesci. Few could argue that their brotherly report is bordering on documentary. In particular, I direct you to a scene at the beginning of the movie when Pesci breaks up a fight between LaMotta and his then wife. Their conversation at the breakfast table is stable and even keeled, even as they get heated at each other. The scene closes with DeNiro ribbing Pesci into hitting him. It also draws a direct reference to "on the Waterfront", a movie quoted at the end of the film. My friend Steph Too said it best, "You want them to get their heads out of their asses! You're killing me!". This struck me as especially funny seeing as she is the only mother in our group.

As I mentioned earlier, the film is shot in black and white. There doesn't seem to be any concrete reason why, however there is speculation galore! Scorsese has been quoted as saying it was because he was not satisfied with the quality of color film stock at the time. This makes sense- just look at other films from the last 70's/early 80's. Many seem dated, while "Raging Bull" is timeless. Other's believe it was to separate the film from another recently released- "Rocky"(1976). Other's involved with the making of the film say it was in direct reference to boxing movies from the time (40's-50's). Steph Too also pointed out the transitional editing, particularly how "the scene opens fuzzy, then become very crisp". The camera shots and editing were revolutionary at the time, but seem so common place to us now. During fight scenes, the speed slows down when there is contact between boxers allowing us to see the fight in all it's sweaty and bloody glory. At other times it speeds up, shooting the action from below, their gloves raging over the lens- we can't escape the punches any more than the other boxer.

Suggested Viewing: "On the Waterfront", anything by Scorsese particularly "Taxi Driver" and "Casino", "Rocky", "Rocky Marciano", and documentary "Easy Riders and Raging Bulls"