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Reviews
Body of Evidence (1993)
Lame!
I went to see this film in the theater as part of a date. Although much has been made of the hot wax scene, there's a moment when Madonna asks Willem Dafoe, "Are you scared?" To which someone in the audience yelled out, "NO! We're BORED!" To me, that summed up the movie pretty well.
Also, I remember thinking that there were scenes where some of the actors were barely able to deliver their lines with a straight face. I always wondered what kind of out-takes there were. I'm sure that there must have been at least one hundred takes where Joe Mantegna blows a line and asks, "How much are you paying me to act in this steaming turd of a film?" For an "erotic thriller," the film somehow managed to be entirely devoid of any erotic quality, and its agonizingly predictable story line was about as thrilling as something not at all thrilling.
The DVD version supposedly has "unrated" Madonna nakedness. If the disc has detailed chapters, go for it. Otherwise, don't waste your time.
Tian yu (1998)
A Critique of Corruption in Communist China
I've read several reviews here and, to me, all of them are missing the point of the film. Even though the main character trades sex for freedom, this takes place within the context of a society where individual desire and freedom simply don't exist. The girl, in the communist sense, has corrupted herself, not by trading her body for favor, but by wanting to. She places her own desires above those of the People and is endlessly punished for it.
The film is a meditation on communist values, and how they have misled and betrayed its people. Everyone that the girl meets, except for her emasculated mentor, takes from her until, at the end, she simply has nothing left to give.
The film works in the context of a larger metaphor, I believe, one that deals with Tibet and its relationship to China. One can plainly see that China's presence there is harmful, that its values spread corruption even to the furthest reaches. The relationship between the herder and the girl can be seen as a metaphor for the relationship between China and Tibet. The herder's death is not merely a reaction to the loss of a loved one. It is a metaphor for the death of the soul of Tibet.
The Chinese government understood this all too well to be a harsh rhetorical criticism against its policies against women, Tibet, and people in general. That is why it was banned there.
Naked Lunch (1991)
Drug Induced Magical Realism in Cinema
David Cronenberg has played with a type of magical realism in many of his films. He enjoys sharing the madness of his characters with the audience. Their worlds, constructed on a skewed perception of reality, begin to lose their familiarity as their delusions become more pronounced. This is true in Videodrome, Existenz, Spider, and in Naked Lunch. One could argue that the same is true for M Butterfly.
In Naked Lunch, the hero moves in and out of a drug induced paranoid fantasy where warring factions of secret agencies try to win his allegiance. He, and the audience, are thrust into an unreal world where one cannot discern truth from fiction. Even Julian Sands' character, seemingly real, becomes a nightmarish fantasy and one cannot know if he ever existed in reality.
One real highlight of this film is the music. Howard Shore, along with Ornette Coleman, creates an abstract, jazz infused, middle eastern mélange of great power. It is a very important 'character' in the film.
If the film suffers from anything, it is merely a certain cheesiness of the mechanical creatures that inhabit the fantasy world Cronenberg creates. This, no doubt, is due to unavoidable budget limitations. Honestly, however, because his films are such unique creations, if one can forgive these small compromises and let go of preconceptions, this and his other works can be deeply rewarding.
If, however, you are seeking 'normal' narrative, character development, or portrayals, his work isn't for you.
Why Man Creates (1968)
This Film Shaped My Young Brain
This film, when I saw it as a child in the early 70's, affected me profoundly. Although my memory has faded some, certain specific things were inexorably embedded in my consciousness: A wee creature hopping along, chanting "I'm a bug, I'm a germ, I'm a bug, I'm a germ!" Upon bumping into the boots of a bearded man, it exclaims, "Louis Pasteur!!! I'm not a bug, I'm not a germ!" And I cannot forget the exchange between Michaelangelo and da Vinci: "Whaddaya doin?" "I'm painting the ceiling! Whadda you doin?" "I'm painting the floor!"
These recollections, faded but still strong, do not reflect the scope or genius of this short film, but they do reflect its spirit. In a series of unconnected sequences, Why Man Creates is simultaniously an exploration, example, and homage to Man's creative spirit. It shows, with the unique power of film, that imagination is, indeed, boundless and that the act of creation is as much a part of being human as anything else.
This film deserves to be preserved and shared with each generation of young children so that their imaginations can be freed to soar with whimsy and joy.
The Loved One (1965)
The Blackest of Black Comedies
It is hard to place any kind of meaningful description to this film because it takes cultural, social, and moral ideals and stomps on them. Additionally, the casting of the film goes against type, with Jonathan Winters, for example, as a dark, imposing religious force. The acting is superb, intense and, at times, intentionally campy and over-the-top. Each scene seems outrageous and, at times, ridiculous but inexorably moves the characters, and the audience, to a lip-biting conclusion.
Terry Southern, one of the credited screen writers, was also responsible for Kubrick's Dr Strangelove, Barbarella, Candy, Easy Rider, The Magic Christian, and many other wacky films. Knowing this may help to place it in some familiar context. Of all his films, though, this is the darkest.
If you are disturbed or offended by the funeral business, death in general, dead pets, or slightly veiled hints at necrophilia then you might want to give this one a miss. If you're brave and open-minded, however, I highly recommend this truly strange and wonderful film.
Eyes Wide Shut (1999)
Long Dark Night Of The Soul
I saw this film at a studio preview held for West Coast journalists. The film, much touted and anticipated was, at that time, still an unknown entity. The two main stars, Kidman and Cruise, and its notorious director, Kubrick, brought a huge media buzz to the film, however.
The film is photographed like a painting, and the camera moves like a dancer, gently embracing the characters as they move through the various scenes in the film. The actors, stars and supporting cast, bring depth and honesty to their performances. The one, fatal, tragic misstep in the film is the story.
Cruise's easy manner places him in a situation where his wife suspects him of cheating. This prompts her, in a moment of alcohol driven honesty and angst, to confess to having seriously considered sleeping with a man she saw. This confession has its intended effect, sending Cruise out into the night, at first in anger, then out for revenge.
Cruise is then exposed to a series of sexual opportunities, none of which he pursues. Each one, it seems, brings him closer and closer to death. Even the affable and attractive prostitute he meets, and follows back to her flat, turns out to be a ticking time-bomb of AIDS.
This theme, while a potentially interesting ostinato, becomes instead a clanging harangue that seems pointless and outdated. It is only when Cruise is emotionally, and literally, stripped of his identity and brought to the brink of death, does he wake up enough to realize that his life, and his wife, are both wonderful.
In the end, I felt that his character was, frankly, stupid. Thus, his process of transformation became fundamentally meaningless.
Step Across the Border (1990)
A whimsical and provocative documentary
This film is a snapshot of the life of Fred Frith, an English-born multi-instrumentalist, composer, and improvisor. It finds him in Europe, Japan, and the US, working and playing with a variety of avant garde artists.
There is no narrative, or narrator. The images blend with his music, and visa versa, creating a narrative all their own. His performances, widely varied, reveal a light hearted intensity. In one scene, he uses his violin to 'sing' with seagulls and, in another, he conducts a quartet. Most of all, it shows him as a human being whose being is infused with music. It pours out of him in all its varied forms, and he welcomes it all.
Just prior to its west coast screening, I saw an elegant older woman at one of Mr Frith's solo performances. She seemed completely out of place, and so I asked her why she was there. Turns out that she was Sheila Benson, LA Times Film critic. She said that she'd seen the film on VHS, and felt so intrigued that she had to come and see him in person.
Siesta (1987)
"Jacob's Ladder" With Hot Chicks!
This movie is not for everyone. That being said, I loved it. It is surreal, complex, and asks more questions than it answers. It evokes rather than exposes, and creates a vivid imaginary world using only good acting, editing, and camera technique. Although it may have been marketed as an erotic thriller, it is actually a profoundly personal, emotional, and psychological exploration of one woman's struggle for spiritual freedom.
Ellen Barkin is captivating as the enigmatic Claire, a woman desperately trying to uncover her past. This is, for her, a true tour de force.
The supporting cast reads like a celeb who's who, with Jodie Foster, Martin Sheen, Isabella Rosallini, Gabriel Byrne, Grace Jones, Julian Sands, and a surprisingly intense cameo by English comedian Alexi Sayle.
If that weren't enough, the soundtrack features original music by Miles Davis, some of the last work he recorded.
As I said, this film is not for everyone, but my mind returns to it again and again. It lingers in my memory and, for that, I am grateful.