Movies, movies, movies... so, I'm finding a formula for my days. Get up in the morning, go into town for incidental tickets for the film society (mostly for older, newly-restored movies), and go over to the Unicorn Theatre (actual name) for an evening screening of one of the films actually in the festival this year (specially hosted for the film society that gave me my badge).
So, here's what I've seen, with (Director, Year), a pitch (that's screenwriting talk for a short description meant to hook a reader), and a few quick thoughts that don't give (too) much away.
'After the Curfew' (Usmar Ismail, 1953)
When a freedom fighter in Indonesia returns home from an unsuccessful war, disillusioned and ill-suited to work, he teeters perilously on the edge of falling back into the corrupt old company of his fellow former soldiers.
A classic film in Indonesia, this had a good film noir feel to it. And while the plot was on the thin side, I thought the main character was a compelling 'lost character', and his deadbeat best friend was well-rendered and interesting to watch.
'Kalpana' [Imagination] (Uday Shankar, 1948)
The (largely autobiographical) life story of an influential dancer and artist who founds a cultural center to improve mental and spiritual life in the name of a stronger India. It is an elaborate musical exhibiting Shankar's trademark style of dance, and the influential dancer/choreographer's only film.
This is the grandfather of Bollywood as we know it. Shankar was incredible, moving with uncanny finesse, and the movie has its fair share of nice directorial touches. My only problem, though it is major, was that there wasn't enough of Shankar. He and his subtle technique step aside about halfway through to make room for an overwhelming climax overflowing with an ordinarily talented ensemble in whom we are not as invested.
'The Ring' (Alfred Hitchcock, 1927)
When a champion boxer hires a talented newcomer as his sparring partner, he also kindles the interests of the jealous young fighter's wife. Not to be confused with the 2002 horror film of the same title.
The love triangle is pretty banal; there's nothing to make the relationship between the young boxer and his wife ring true. But Hitchcock being Hitchcock, there are some great visual touches, and the dramatic tension keeps you interested through to the end. This is also the only full script that Hitchcock wrote himself. I should also note that the screening benefited tremendously from a live score played by a musician on keyboard, accordion, and piccolo.
'Mystery' (Ye Lou, 2012)
When two mothers with preschoolers in the same class discuss fears of their husbands' infidelity, unsettling truths come forward... and they may be related to a recent, fatal highway accident.
I saw this Mandarin Chinese film with French subtitles, so I was largely struggling to keep track of who was who and what was going on. But there were some solid performances, particularly from the male lead, who portrayed a less-than-likable man as a complex and bedeviled husband. There was also a nice cast of supporting characters for a varied emotional and thematic tone. Also, the thoroughly innocent and adorable children (who at one point sing 'Ode to Joy' in Mandarin) provide a striking counterpoint to the darker intrigue that ensues among the adults.
'Beasts of the Southern Wild' (Benh Zeitlin, 2012)
In 'The Bathtub,' a poor but surreally jovial Louisiana Delta community, a young girl named Hushpuppy fends against a fearsome storm and its aftermath, her father's mysterious illness, and the coming of newly awakened prehistoric creatures, all while searching for her lost mother.
Is a six-year-old allowed to win an Oscar? She is incredibly adorable and unbelievably capable at the ripe old age of six-or-so. The plot in this movie is not nearly so important as the relationship between her and her (at times) equally childlike father, Wink (played by the also-amazing Dwight Henry). Their tough-love relationship is incredibly nuanced, the supporting characters are delightfully fun, and the level of detail in this world immediately pulls you in. Also, the soundtrack is epic in the most satisfying way (especially around the credits). It's coming out in late June in the States, and I recommend you go see it.
'Beyond the Hills' (Cristian Mungiu, 2012)
Alina, a lonely young woman, reunites with Voichita, her close childhood friend from their orphanage. But Voichita now resides in a secluded orthodox convent, and her beloved faith, along with the convent's strict priest, will make it all but impossible for Alina to convince Voichita to run off with her.
This may be the most boring movie I have ever seen (and that includes 'The Straight Story', which is about a man riding a tractor across Iowa). It just never takes off; they repeat what is essentially the same two or three situations again and again without very much variation or raising the stakes. The contents of the ending are horrifying and nihilistic in theory, but the movie doesn't earn that horror... there is not a sufficient build, either through the plot or the characters. This is supposedly one of the big contenders for awards this year, and that makes me sad.
'Lawless' (John Hillcoat, 2012)
In Prohibition-era rural Virginia, the three Bondurant brothers and their renowned bootlegging ring are shaken by the arrival of a corrupt, merciless federal agent who wants a cut of their profits.
Plot-wise, it's nothing revolutionary, but beautiful scenery, great production values, and outstanding performances abound. Tom Hardy plays a fascinatingly understated and thoughtful bear of a man (perhaps an alter-ego of this summer's Bane in 'The Dark Knight Rises'), Gary Oldman plays a gloriously pinstriped rum-runner, and Guy Pearce is a simply terrifying villain. Even Shia LaBoeuf does a decent job. Despite the rather intense violence, this movie demonstrates a wide emotional range, including sincere romance and plenty of terrific humor.
'For Love's Sake' (Takashi Miike, 2012)
The high school aged daughter of an influential family encounters a thug with authority issues who saved her life when they were children, and she decides to rehabilitate him... by getting him transferred to her elite prep school.
The premise is relatively sound. Then they start singing. And dancing. And fighting. And blowing things up. This movie is equal parts high school anime, Quentin Tarantino, and 'Glee', with an over-the-top campy script and production design that, I would argue, make it as ripe for ritualistic midnight screenings as 'The Rocky Horror Picture Show'. Not for the faint of heart... or sense of humor.
'Killing Them Softly' (Andrew Dominik, 2012)
Jackie Cogan, an easygoing mob enforcer, must investigate and handle the delicate situation surrounding the recent robbery of a mob poker game.
There's a neat thematic payoff at the end of this movie, but that's not the sort of endorsement you want to hear about a mob flick starring Brad Pitt (also including James Gandolfini, Ray Liotta, and others). It's pretty darn violent, full of explicit dialogue, and just plain gritty. Not a judgment, although I was underwhelmed because I think it gets lost in its own grittiness... I didn't think they let you get close enough to the characters (or plot) to make it as compelling as it could have been.
'Amour' (Michael Haneke, 2012)
The love between an elderly intellectual Parisian couple is put to the test when the wife shows the first signs of a debilitating neurological disease.
This is the golden child of the festival so far, likely to win at least a few awards. And I can see why. The performances and directing are top-tier; when the action of your movie barely leaves a single (gorgeous) apartment, the whole affair needs strong characters to drive it. Many scenes might affirm France's reputation for slow (and sometimes depressing) movies, but it fits the pacing of these elderly characters' lives. This movie is hard to watch of course, but if you're in the right mood for it, I think it can be very moving.
. . . Last, but far from least . . .
'Once Upon a Time in America' (Sergio Leone, 1983)
David 'Noodles' Aaronson, a Jewish former gangster, returns to New York on a mysterious summons after hiding out for thirty years. Noodles revisits bittersweet memories, from childhood on the streets through big-time bootlegging to figure out who has found him, why... and who made off with the gang's cash holdings from so many years ago.
This is one of my personal favorites... nonlinear storytelling, great acting, gorgeous production design, directing that makes a four-hour movie glide by, and what might be my favorite movie soundtrack ever. That's the short version of why I like it. I was thrilled when I learned that they were screening it at the festival this year as part of the 'Cannes Classics' category, for newly restored prints of older films (like 'Kalpana', 'After the Curfew', etc.). Even more exciting: the addition of 20-25 minutes of never-before-seen footage from cuts Sergio Leone didn't want to make. This is supposed to be as close as we can reasonably come to Leone's original vision (and, for a movie that's been as butchered as this one has over its many releases, that means a lot).
So, I'm really glad I got into this screening -- not only because I found the lost footage offered a few more gems of moments, but because Annie and I watched this movie in the company of Robert DeNiro, James Woods, Elizabeth McGovern, Jennifer Connelly, Sergio Leone's children ('Once Upon a Time' was Sergio's last movie), and composer Ennio Morricone. (Also in attendance were Salma Hayek and Alexander Payne, a Cannes Jury member this year, and Oscar-winning writer/director of 'The Descendants'.)
So, yes, the star power was fun, but it also occurred to me during this movie's many swelling emotional tides that these (great) actors were probably experiencing this together for the first time in almost 30 years. I could only imagine what that was like for them, but I thought it was cool that I was - however tangentially - sharing in that experience.
. . .
And that's just the first half of the Festival. More on daily routine (HA! Right.) around here next time. As well as more movie talk.
-Andy
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