by Jonathan M

REVIEW – Faust (2011)

Not the UK box art but I think this may well be the worst DVD cover of all time and I simply had to share it.FilmJuice have my review of Alexander Sokurov’s Faust.

Like many people, my first contact with the work of Alexander Sokurov was his 2002 film Russian Ark. Filmed in the Winter Palace and shot in one long continuous take, Russian Ark presents itself as a journey through Russian history. Visually striking and technically flawless, the film is a brilliant exercise in cinematic logistics as Sokurov does not just produce an entire film in a single shot, he also stage-manages hundreds of extras in real time with absolutely no room for error.

Much like Russian Ark, Faust is both visually and technically impressive:

Shot amidst narrow streets using a very narrow aspect ratio, Sokurov fills the screen with extras to the point where the film’s main characters struggle to be seen and heard. Hemmed in on all sides by people and buildings, Sokurov’s Faust withdraws into a world of ideas only to be shocked and horrified by his resulting distance from human concerns. The self-destructive nature of Faust’s psychological exile is made all the more clear through a series of allusions to great works of art which, despite their considerable beauty, are entirely lost on the self-absorbed Faust.

Based on the well-known and often-revisited story of a Renaissance scholar who sells his soul to the devil only to discover his soul’s true worth, Sokurov’s Faust presents the character as a bored intellectual who is so detached from the world that he literally would not know what to do with unlimited power were he to receive it. Much like Christopher Marlowe’s Dr Faustus, Sokurov’s creation acquires neither wisdom nor morality alongside his satanic powers.

Much like Russian Ark, Faust is the product of a man with amazing technical skill and very little to say. As I said in my review of Russian Ark, his films are lifeless collages of beautifully rendered images. Affectless to the point of absolute sterility, Sokurov is a gifted cinematographer needlessly elevated to the role of director.

by Jonathan M

REVIEW – Oedipus Rex (1967)

ORFilmJuice have my review of Pier Paolo Pasolini’s wonderful adaptation of Oedipus Rex.

While I am a huge fan of Pasolini’s work, his films always leave me feeling as though I have had to fight Pasolini tooth and nail in order to extract a coherent message from an enormous pile of idiosyncratically juxtaposed signs and portents. Indeed, if you read my review of Pasolini’s contribution to the short film collection RoGoPaG you will have noticed that I genuinely have no idea what it was that he was trying to say with his weird Christ/Cheese metaphor. As a result, it was somewhat refreshing to encounter an example of what Pasolini could achieve when working with a text that is already quite well understood.

Based on the classical play by Sophocles, Pasolini’s Oedipus Rex offers a moving commentary on the fact that even the most concerted rebels and outcasts are doomed to assume the roles vacated by their parents. Re-issued by Master of Cinema alongside a series of other Pasolini titles, Oedipus Rex is a useful point of entry into one of the 20th Century’s most challenging and unusual filmmakers. Indeed, having now seen Oedipus Rex, Pasolini’s Pigsty makes a good deal more sense.

Oedipus Rex is one of the most beautiful films ever made. Its opening sequences of people running around a field are fiercely reminiscent of the whispered awe that flows throughout the films of Terrence Malick. Pasolini captures the North African landscape with the eye of a painter, the deep red of the sand constantly at war with the brilliant blue of the sky while the film’s outlandish costumes seem to shriek defiance at the heavens themselves. We are here! We are human! We exist! Staggeringly beautiful, the film’s production design is reminiscent of what might have happened had the surrealist master Alejandro Jodorowsky been recruited to direct films like 300 and Immortals.

If you are looking for an intelligent and staggeringly beautiful art house film then please look no further than the BD edition of Oedipus Rex.  This is staggeringly good cinema.

by Jonathan M

REVIEW – If I Want to Whistle, I Whistle (2010)

FilmJuice have my review of Florin Serban’s debut feature If I Want to Whistle, I Whistle. Nominated for the Berlin Golden Bear and winner of the Jury Prize Silver Bear, Serban’s film is being marketed as the latest opus to emerge from the fecund soil of the Romanian New Wave. High praise indeed given that that particular wave produced not only Cristi Poiu’s The Death of Mr Lazarescu and Corneliu Porumboiu’s Police, Adjective but also Cristian Mungiu’s Cannes-winning 4 Months, 3 Weeks, 2 Days. Unfortunately, while Serban’s film does an excellent job of re-creating the corridorpunk aesthetic that has thus-far dominated the Romanian New Wave, the film itself is really nothing more than a generic prison thriller:

The problem is that while films like Police, Adjective and The Death of Mr Lazarescu used a very specific set of Romanian problems to explore what it is like to be a contemporary Romanian, Serban’s film is really nothing more than the sort of generic prison movie that could have been made anywhere. Generic in plot and unoriginal in aesthetic sensibility, Serban’s debut is a largely pointless addition to an increasingly over-loaded bandwagon. Indeed, while the film’s gritty visuals and social realism may have helped to secure international distribution, they do absolutely nothing for the film’s message or emotional impact.

Some critics have suggested that If I Want to Whistle, I Whistle is proof that we are close to reaching the bottom of the Romanian New Wave barrel and that all the talent in that particular scene has now been discovered leaving only the hacks and the wannabes. Though I have a certain amount of sympathy for this viewpoint, I think the decision to load If I Want to Whistle, I Whistle onto the Romanian New Wave bandwagon speaks of a more profound malaise with world cinema.

Consider the following hypothetical situation: You are a young Romanian who has just graduated from film school at a time when critics all over the world are singing hosannas to your national cinema. All over the world, people are paying to see Romanian film and you know that, as a young Romanian film director, chances are that you can score a breakthrough hit. However, in order to produce a breakthrough hit and launch your career, you need to attach yourself to this national cinema that everyone is raving about. Q: What is the best way of accomplishing this? A: By making the film you want to make and combining it with familiar tropes. Result: A thriller with a corridorpunk aesthetic.

If I Want to Whistle, I Whistle is best understood as a professional calling card. A demonstration of technical prowess and aesthetic pragmatism that showcases Serban’s ability to adopt popular styles in order to get a film made. Much like Tom Waller’s Soi Cowboy, it is proof that Serban can be a good cultural citizen and produce the type of film expected of young Romanian film directors. I suspect his next film will be not only better but also a good deal more personal. Florin Serban is clearly one to watch.

by Jonathan M

REVIEW – RoGoPaG (1963)

FilmJuice have my review of the really rather wonderful 1960s Italian anthology film RoGoPaG. Comprising three short films directed by Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini and Ugo Gregoretti, RoGoPaG is funny, satirical, gnomic and misogynistic in equal parts but the satire and humour of Passolini and Goretti more than make up for the pretentiousness and misogyny of Godard and Rossellini.

The film begins poorly with a well made but ultimately insipid morality tale by Roberto Rossellini in which an innocent and matronly airhostess (Rosanna Schiaffino) reinvents herself as a ‘whore’ in order to escape the attentions of a horny businessman. Schiaffino is undoubtedly charismatic but her charms simply cannot make up for the grinding misogyny of the film’s themes and plot.

Much like Pigsty and Hawks and Sparrows, Pasolini’s short film “La Ricotta” is a joyous avalanche of images and symbols that communicate mood far more effectively than they communicate ideas. The film revolves around an attempt to make a film about the Crucifixion that ends with one of the bit players dying on the cross as a result of eating too much cheese. Pasolini was evidently sent to prison for making the film and, to be honest, I can see why as the anger and hostility to organised religion are clear even though the exact nature of that anger is much harder to discern. The best short film in the collection is also the product of the least well-known director. Ugo Gregoretti’s “Il Polo Ruspante” is a well-observed and viciously delivered critique of Italian post-War consumerism in which a small family travel across the country while being fleeced by everyone they enter into contact with.

by Jonathan M

REVIEW – Miss Bala (2011)

Videovista have my review of Gerardo Naranjo’s Mexican crime movie Miss Bala.

The film tells of a young woman who attempts to sign up for a beauty pageant but winds up getting involved with a gang of Mexican drug traffickers. In the hands of a less ambitious director, this set-up might have resulted in one of those horrific fish-out-of-water films like Jonathan Demme’s Married to the Mob (1988) or Donald Petrie’s Miss Congeniality (2000). However, rather than play-up the comic elements of the culture clash, Naranjo uses them as the basis for a coming-of-age movie that skewers the values of contemporary Mexican society:

The idea that Mexico is nothing more than an oceanic darkness lurking beneath a thin strip of human pretence is present throughout the film’s cinematography. Miss Bala is an intensely dark and moody film and the only time that Naranjo allows us to escape the darkness is in the few sun-kissed moments when Laura is attempting to pass herself off as an innocent civilian. Compared to the shadows of Laura’s day-to-day existence, the floodlit wonderland of the beauty pageants, shopping trips and garden parties seems both grotesquely fake and beautifully alluring.

Miss Bala is an intensely clever and absolutely beautifully shot film that must class as one of the best crime movies to appear in the last couple of years.

by Jonathan M

REVIEW – The Night Porter (1974)

FilmJuice have my review of Liliana Cavani’s arthouse nazisploitation flick The Night Porter.

The Night Porter tells of a former Nazi who is attempting to evade prosecution and disappear into the shadows of post-War Europe. However, this flight into shadow is arrested when the Nazi encounters a young Jewish woman who survived the War by serving as his personal sex slave. Concerned that this young woman might turn him in to the authorities, the Nazi sets out to murder her but the second the pair are face to face they tumble back into the same sadomasochistic patterns that had seen them through the War. At the time of its release, the film’s suggestion that some Jewish people might have enjoyed or benefited from their time in a concentration camp was taken as an almost impossibly transgressive thing to say as Europe was in the process of turning Holocaust survivors into a class of living saints. However, as time has passed and the moral certitudes of the Second World War have begun to evaporate, the political elements of The Night Porter are not as shocking as they were meaning that all that remains is a film is which a topless Jewish girl sings for a bunch of Nazis. As I pointed out in the review, these scenes are astonishing:

If cinematic history has been kind to The Night Porter it is chiefly due to the series of dream-like vignettes that Cavani scatters across the face of the narrative. Almost entirely dialogue-free, these vignettes chart Rampling’s transformation from a terrified child to a sexually empowered woman who fearlessly performs a topless cabaret before a group of leering Nazis. Shot with a combination of elegant eroticism and low-key surrealism, these scenes are not just amazing to look at, they are also a highly evolved exercise in visual storytelling. Indeed, the more we learn about the behaviour of the ‘little girl’ in the camp, the more we realise that there was a good deal more to the sexual relationship than a desire to survive.

The problem is that, once you move beyond the beauty of those dream-like scenes, the film begins to fall apart.

While there is no denying either the beauty of the power of these transgressive dreamscapes, it is frustrating to note that while the storytelling inside the vignettes is arresting, Cavani fails to root them in either the wider narrative or basic principles of human psychology. As with Max’s feelings of guilt and his desire to withdraw from the world and live ‘like a church mouse’, the true desires and motivations of the ‘little girl’ are never explored and so Cavani never actually engages with any of the Big Ideas that litter the foreground of the film.

With nothing to say and nearly two hours in which to say it, The Night Porter shambles along with neither point nor purpose. Lacking proper characterisation, the film struggles to engage our sympathies meaning that the descent into thriller territory towards the end of the film feels forced, fraudulent and entirely unexciting.

Released on Blu-ray with neither bells or whistles, The Night Porter does contain a few legitimately wonderful cinematic moments but aside from dancing Nazis, there is little here to explain why it is that this film has endured while other works of artful Nazisploitation such as Tinto Brass’ Salon Kitty have largely disappeared from view. Neither as transgressive as Pier Paolo Pasolini’s Salo or as politically engaged as Marcel Ophuls’ The Sorrow and The Pity, Cavani’s Night Porter sheds little light on the human truths lost in the moral rubble of the Second World War.

by Jonathan M

REVIEW – Hawks and Sparrows (1966)

FilmJuice have my review of Pier Paolo Pasolini’s postmodern/religious fable Hawks and Sparrows (a.k.a. Uccellacci e Uccellini).

Much like Pasolini’s Pigsty, Hawks and Sparrows comes across as an intensely weird and inaccessible piece of film making. Filled with portentous images as well as characters and narratives that make very little in the way of sense, both films are products of a time when the fundamental grammar of film was in the process of revision/ The works of Pier Paolo Pasolini feel far stranger than contemporary works such as Alain Resnais’s Last Year at Marienbad or Michelangelo Antonioni’s L’Avventura because Pasolini has proved to be a far less influential filmmaker than either Resnais or Antonioni. Contemporary audiences can easily decode L’Avventura because L’Avventura contains a number of techniques which, though radical at the time, have since entered the mainstream of film and TV. Conversely, the works of Pasolini contain ideas and techniques that are seldom used in contemporary art house film and so they seem as radically odd now as they did when they first appeared in the 1960s. As I put it in the actual review:

Once you accept that Hawks and Sparrows is little more than a cavalcade of images and references, the film becomes a good deal more enjoyable. Freed from the need to present an argument or tell a coherent story, Pasolini plays with the fabric of our dreams to present a succession of memorable cinematic images including dark-eyed girls with angelic wings, rampaging monks and an aging clown who is suddenly gripped by a lust for life in all its pulchritudinous glory. Hawks and Sparrows is neither particularly entertaining, nor particularly profound. However, despite the film’s decidedly experimental and disposable feel, it remains a timely reminder of quite how brave and innovative art house filmmaking can be when it decides to start rattling cages. At a time when every art house cinema seems filled with beautifully hollow dramas about beautifully hollow upper-class people, Masters of Cinema have allowed us the opportunity to (re) discover the work of a legitimately artistic and legitimately challenging filmmaker.

by Jonathan M

REVIEW – Pigsty (1969)

FilmJuice have my review of the recent Masters of Cinema release of Pier Paolo Pasolini’s uncanny masterpiece Pigsty.

Comprising two narrative strands, the film explores the way in which cultural elites undermine dissenting opinions by subsuming traditional vocabularies of dissent. In one strand, a young man wanders wordlessly around a volcanic landscape until he comes across a dead body which he promptly consumes. This act of consumption classifies the young man as an outcast and this outcast status allows him to acquire a following that eventually forces the local authorities to intervene. When the young man is finally given the opportunity to express himself in words, all he has to say for himself is:

I killed my father, I have eaten human flesh, and I quiver with joy.

The film’s second strand is set in the 1960s where another young man finds himself crushed between the capitalistic radicalism of his father and the logorrheic gibberrish of his leftist fiancee.  Denied the means with which to express himself as an individual, the boy retreats into a comatose state before finding some form of fulfillment in the act of fucking a pig.

Pigsty is an attempt to address the relationship between the generations and how difficult it can be for the young to express themselves when they are not the ones in control of society. Particularly striking is the way that Pasolini presents post-War German prosperity as little more than a repackaged version of the pre-War economic boom engineered by the Nazi government of the 1930s. With all of culture safely commoditised and filed away, what are today’s rebels to do but seek sanctuary in the most heinous acts imaginable? Windy, difficult and decidedly ‘of its time’ Pigsty remains a ceaseless beautiful and thought-provoking film by one of the great provocateurs and stylists of the European art house tradition.

The idea that cultural elites pull the ladder up behind them to ensure that nobody can rebel against them in the same way that they rebelled against previous generations will be familiar to those of you who have read Thomas Frank’s wonderful essay “Why Johnny Can’t Dissent”.

by Jonathan M

Why You Want to Fuck Christopher Hitchens – Celebrity, Consumerism and the Search for Online Identity

 

I’d like to open with a kind of history. This history takes many forms and surfaces in many different places with the names of the actors sometimes replaced. Occasionally, the role of the nation-state is assumed by religion and at other times it is the gods of classical antiquity who take the lead. Regardless of which iteration of this history you have heard, its narrative will be familiar to you for it is a narrative of loss.

Once upon a time, people lived in tribes. These tribes were small social entities made up of a number of different family groups that pooled their resources. Members of tribes lived together, worked together and died together and this permanent state of communion with others made their lives meaningful. Of course, human nature being what it is, tribes could not peacefully co-exist and the tribes soon began conquering each other until their dominion extended over millions of people and thousands of miles of territory. Because these abstract tribal groupings were a lot harder to manage than a couple of families that had been living and working together for generations, tribal elders began reinventing themselves as governments who began to rule over abstract political entities known as kingdoms and principalities then as nations and states. Of course, nation states were never anything more than a way of referring to the territory under the control of one particular government but they stuck around for long enough that people began to forget their tribal loyalties and began to see their nationality as a fundamental fact about themselves, a fact no different to their sex, their gender, their sexuality or their race, a fact that took the form of a noun.

Continue reading →

by Jonathan M

REVIEW: Giorgio Moroder Presents Metropolis (1984)

FilmJuice have my review of Giorgio Moroder’s eighties remix of Fritz Lang’s immortal Metropolis.

Lang’s Metropolis is a science fiction fairy tale dealing in class warfare, economic collapse and the power of compromise and understanding to deliver a world that is at the very least tolerable to all. Grounded in the cinematic techniques developed by German Expressionism to increase the bandwidth of silent film and unlock new depths of emotional complexity, the film is two and a half hours of directorial brilliance. However, though the original cut of the film has now been recovered, there were decades during which people believed it would never be seen again. Given that Metropolis is not only a beautiful but also an intensely important film, it was perhaps unavoidable that attempts to restore it would stir up strong feelings. In fact, the debate over what should be done with the Metropolis fragments rapidly coalesced into a bitter confrontation between those who wanted the original film left as it was and those who wanted the meddle with the footage in the hopes of recapturing some dim afterglow of Lang’s genius. Giorgio Moroder’s Metropolis is not only the best known and most interventionist of the alternate edits of Metropolis, it was also the most widely seen version of the film as the ‘hip’ scoring by eighties pop stars combined with the short running time ensured that copies of the film flew in and out of video rental stores throughout the eighties and nineties. Now that the original cut of the film has been recovered, it is tempting to simply consign Moroder’s edit to the bin and move on but this cut has historical merit on its own.

Moroder’s Metropolis is a short and punchy affair that feels very much like an extended trailer for original version of the film. Moroder solves the narrative problems of the various re-cuts by stripping out much of the dialogue and drama in order to focus upon the big cinematic set pieces and emotional moments. Somewhat unsurprisingly, this results in a film that bubbles with the same hysterical energy and visual spectacle as the Michael Bay Transformers movies. However, rather than leaving his characters to scream and flail about like Shia LaBoeuf, Moroder attempts to fill in the emotional gaps by scoring the film with a series of somewhat heavy-handed eighties power ballads performed by the likes of Bonnie Tyler, Freddy Mercury and Pat Benatar. Moroder also colourises the film in an attempt to convey changes of mood which, though obvious from the context of Lang’s longer film, struggle to emerge from the mangled cinematic vocabulary of the truncated versions.

Watching this film, I couldn’t help but wonder what other alternate edits of classic films are out there… the film is being re-released today by Masters of Cinema in a limited edition steel shell thingy. Release of the standard edition is coming later this year according to the Brazilian river place.