This week's quiz was prepared before Filmbrain left for vacation, so there's obviously no way to discuss the response to last week's quiz.
The 1980's wasn't a great decade for film -- the influence of MTV was starting to be felt, and the director of last week's quiz, London boy Julien Temple, was a pioneer in that scene. His 1986 feature film, Absolute Beginners, is a bit of a mess, but it's a visual and audible treat. (The soundtrack is priceless.) Oh -- by the way, that's none other than David Bowie dancing on the world.
This week, a glimpse into a pre-email world. It's a tough one, admittedly. . .
As usual, send your guesses to this address. Good luck!
Sal C. is clearly going to be the man to beat -- he was first yet again with the right answer, and is now in the lead with most correct answers.
The mad collector of Healthy Choice coupons (and Intimate Affair customer) was of course Adam Sandler in Paul Thomas Anderson's Punch Drunk Love. Filmbrain has never been able to make his mind up about this film. Visually stunning, but otherwise somewhat unsatisfactory. It's certainly no Magnolia.
This week -- a film that Filmbrain is almost embarrassed to admit owning, but is not entirely without its merits. Name the film and the globe trotter.
As usual, send your guesses to this address. Good luck!
Filmbrain will be taking a break for the next few weeks. After what will most likely be a madcap week in Berlin, he'll be relaxing on the Baltic Sea in the house pictured on the left. (Filmbrain wanted to be as far from NYC as possible during the Republican National Convention.)
The film quizzes are still set to appear every Wednesday -- that is, if Typepad does its thing properly and doesn't swallow the posts (as it has in the past). If time permits, and he's not completely overcome by laziness, Filmbrain might sneak in a post or two -- there's a huge backlog of films he hasn't written about (particularly Takashi Miike's wonderful Gozu), and he may have a thing or two to report about the Berlin film scene.
As with every year, Filmbrain is looking forward to autumn -- many new film releases, and of course the New York Film Festival.
Please feel free to peruse the list of blogs on the right to keep up with all things filmic. Have a great end of summer everybody!
You have to admire Vincent Gallo, especially as a director. After the critical success of Buffalo '66, Gallo could have easily taken the well-traveled indie route, directing the kind of hipster fare that would fill seats at the Angelika. Instead, he waited five years and created a near-solo project that is going to alienate (and aggravate) many people.
It's no secret that Filmbrain is a fan of Gallo's work. Though he finds Gallo's politics repugnant, and his bile-ridden scorn towards just about everybody in the film industry more than a bit immature, his work as an actor and director has been consistently fascinating. Claire Denis, who has used him in four of her films, really knows how to bring out the best in him as an actor. In 2001's Trouble Every Day, she drew our attention to his hair -- both his untamed black locks and the three-day stubble on his face -- and it become an integral part of his character. It's the same thing in The Brown Bunny, where Gallo, again playing a character not at peace, allows his disheveled physical presence to speak volumes, thanks to the many extreme close-ups of his head. ("Never mind that Filmbrain, just talk about the blowjob!")
Gallo plays Bud Clay, a motorcycle racer who, like Buffalo '66's Billy Brown (what's with Gallo and brown?) clearly has "issues". Early on in the film he tries to convince a young woman he's just met to travel across country with him, and this could easily be Billy post-Layla. However, it doesn't take long to realize that Bud is even more damaged than Billy, and that he is a man of very few words. Bud has run-ins with various women on his cross-country journey, all of whom are named after flowers, appear to be emotionally bruised, and who seem to share an irresistible attraction to him. We know very little about Bud -- all we know in fact is that he's in love with Daisy (Chloë Sevigny), with whom he hopes to reconcile once he reaches Los Angeles. In one of the film's more interesting scenes, Bud has a very awkward visit with Daisy's parents, and it almost mirrors the dinner scene in Buffalo '66. Though he doesn't shoot it Ozu style (using 360 degree space) the gestures, character placement, and dialog is strangely similar -- particularly with the father in the scene, whose physical position at the table is identical to how Ben Gazzara sat in B66.
So, what does the rest of the film consist of? Driving. In a van. Lots of it. Gallo mounted two cameras in the van, which allowed him to shoot those scenes without assistance. (In fact, there are only a few scenes in the film that required another cameraman.) We alternate between close-ups of his profile (which continue to get more and more extreme until we get intimate with his pores) and shots through the bug-splattered windshield. If it wasn't for the Gordon Lightfoot and Jackson C. Frank songs on the soundtrack you might think you were watching a Kiarostami film.
The entire look (and sound design) of the film is astounding. Gallo has truly captured a 70's feel -- think Monte Hellman or John Cassavetes -- that will appeal to fans of that era. The camerawork during the opening scene (a motorcycle race, filmed from high up in the stands) along with the continual cutting in and out of the sound of the race -- is magnificent. (Gallo utilized a new Super 16 to 35-millimeter transfer process that is gorgeous.) He uses interesting framing throughout -- either having characters off to one side of the frame, or cutting off half their faces, and it's very effective.
The question remains though -- is The Brown Bunny any good? ("Hey, Filmbrain, this is the fifth paragraph and you still haven't mentioned the blowjob!") It's a tough question to answer. From early on it's clear that Bud is running from ghosts, and Filmbrain was immediately interested in learning who or what they are, and why he interacts the way he does with women. This made the journey, long as it is, worthwhile. Filmbrain had no problem with the driving scenes, nor did he ever find it dull. (Keep in mind this is coming from someone who happily watched Satantango three times.) The final twenty minutes, which finds Bud back in Los Angeles with Daisy, is a more than satisfactory payoff (no, not the blowjob) for everything that has led up to it. The only thing that detracts from the dénouement is Gallo's performance, which though meant to be tragic, just isn't strong enough, and resulted in more than a few titters from the audience.
As for "the scene that everybody wants to see", there's nothing erotic or thrilling about it -- it's actually quite depressing, especially in light of what follows. Filmbrain can't help wondering if the emotional impact of the Daisy scene would be lessened if the act was simulated, but there's little point in doing so -- Gallo made the film he intended to, and without any compromises. The scene does not come off as pretentious (like virtually every Catherine Breillat film) nor does it draw unnecessary attention to itself -- the scene is about much more than simply Chloë fellating Vincent.
The critical reaction to the film has been very interesting. After the initial bashing at Cannes (when the film was thirty minutes longer) and the now infamous war-of-words between Gallo and Roger Ebert, some more positive reviews started to appear, especially in Europe. One French critic described the film as pure, unadulterated narcissism, and he meant it as a compliment. Critic Mark Pearson got it right when he said "...its narcissism stems more from a paranoid distrust of others than an overweening egotism." Gallo clearly loved this project, and there's so much of him in it (too much, for some). Filmbrain strongly disagrees with those (like Aaron Out of Focus) who claim that Gallo set out to antagonize his audience, or that he metaphorically has the audience blowing him at the end -- nothing could be further from the truth. Though Filmbrain loathes using the term, this truly is an "art" film. At the 2003 Cannes awards ceremony, one of the prizewinners, in his acceptance speech, told Vincent Gallo not to worry about the audience reaction, and that he should continue making brave films such as this. The Brown Bunny isn't a masterpiece, nor is it even a great film, but it is a powerful, hypnotic, haunting, and yes, brave piece that is as much about cinema as it is about Vincent Gallo, and easily one of the best films of 2004.
Apologies for the late posting -- Filmbrain has been crazy this week with events for the festival. Here are some brief plugs for the films this weekend that Filmbrain thinks should not be missed. (All films this weekend are at the ImaginAsian theater.)
Tonight, Saturday, August 14 @ 7:40 they are screening one of the most entertaining Korean films that Filmbrain has come across -- Save the Green Planet. This film, directed by Jang Jun-hwan is not easily classifiable -- a comedy/drama/sci fi/action/thriller/suspense film that's also a social critique, and genuinely moving. A perfect film for a rainy Saturday night. The director will be present for Q&A following the film. (Also screeing August 17 @ 9:30 and at BAM on August 21 @ 9:30.)
The Uninvited Saturday, August 14 @ 10:30 Is Lee Soo-youn's film a supernatural ghost story or portrait of a psychological breakdown? You be the judge in this often disturbing meditation on relationship anxiety and other ills. (Also screening August 19 @ 9:30)
The Spirit of Jeet Kune Do: Once Upon a Time in High School (Sunday, August 15 @ 3:00)
Yu Ha's film is about a group of students in an all-boys High School in South Korea circa 1978, and the violence that was a part of their daily existence thanks to the military dictatorship that was in power at that time. Between the fighting and the bullying, two boys, Hyun-soo and Woo-sik, meet and become fast friends -- that is, until both decide they are in love with the same girl. An extremely well-crafted film that was a huge success in Korea.
And of course, tomorrow (Sunday) night @ 7:40 is Im Sang-soo's A Good Lawyer's Wife, which Filmbrain once again implores you to see.
The one film every New York Filmbrain-reader (or simply film-lover) MUST MUST MUST go see is Im Sang-soo's A Good Lawyer's Wife. Filmbrain guarantees you will not see a more powerful drama this year. Plus, it is one of the best cinematic portraits of a marriage dissolving and a family torn apart. This is the film (you may recall) that reduced Filmbrain to a quivering, whimpering, rag doll. It is being shown this Sunday, August 15 @ 7:40 PM at the ImaginAsian and next Sunday, August 22 @ 6:45 PM at BAM. Filmbrain will be at this Sunday's screening, and hopes to see many of you there as well -- you will not be disappointed.
Tomorrow (August 12) there will be a panel discussion on contemporary Korean cinema led by Village Voice film critic Michael Atkinson. Filmbrain has been invited to appear on the panel along with Stanley Glick of Asian Cult Cinema magazine. Directors Kim Moon-saeng (Sky Blue), Jang Jun-hwan (Save the Green Planet) and Lee Jong-hyuk (H) will be present as well. Admission is free, but you must RSVP @ 212.759.7525 ext. 301. It will be held from 1:00 - 3:00 at the Korea Society, 950 Third Ave. (at 57th St.)
Check back tomorrow for more reviews and recommendations -- there are some great films this year!
Filmbrain received a record number of entries for last week's quiz, and far more correct (and semi-correct) answers than ever before. Whereas nearly all of you easily recognized the film as Sergio Leone's New York epic Once Upon a Time in America, there were many who mistakenly identified the actress as Elizabeth McGovern. Though that is indeed Deborah dancing in the back room of her father's restaurant, it was fellow Brooklyn-ite Jennifer Connelly (in her screen debut at the age of fourteen) who played the object of Robert DeNiro's affection during the childhood scenes.
Congratulations (once again) to Sal C. for submitting the first correct response.
When Filmbrain decided on this week's quiz, he didn't realize how hard it would be to find a suitable scene, for the lead actor is in nearly every frame of the film. Even if you don't immediately recognize the scene, there is a clue in the shot. . .
As usual, send your guesses to this address. Good luck!
Tonight, as Filmbrain was sitting standing on an overcrowded F train stuck somewhere underneath the East River, he realized that two films he'd seen in the past few days share a similar theme, even though they couldn't be further apart thematically. Both Spike Lee's She Hate Me and Michael Winterbottom's Code 46 deal with some of the more sticky issues regarding sex and reproduction.
First off, the big news about She Hate Me is that it is nowhere near as bad as the critics would have you believe. Judging by the scandalous 24% freshness factor at Rottentomatoes, Filmbrain is convinced that there must be some sort of gang Spike-hate going on. This satirical film, while far from his best (and not nearly as clever as Bamboozled), is a highly entertaining affair is genuinely funny at times. At the end of the near-empty Friday evening show that Filmbrain saw in Brooklyn a young woman approached him asking his opinion of the film. She wasn't conducting a survey -- she just simply didn't know what to think, for the film tackles so very much -- AIDS, the pharmaceutical industry, family responsibility, corporate greed, sexual politics, lesbian mothers, non-nuclear families, whistleblowers, etc. Spike has said that the film is meant to address the declining morals and ethics in America -- in both the board- and bedrooms. He wanted to show an America where people are willing to do anything for money, and to create a world where sex, politics, and money all meet. For the most part, he succeeds.
Whistleblower Jack Armstrong (Anthony Mackie), fired for exposing corporate dark secrets, is unable to find a new job thanks to a smear campaign by his former company. As luck would have it, his ex-girlfriend Fatima (now a lesbian) turns up at his door with a proposition -- both she and her partner want to become pregnant, and are willing to pay $10,000 for it. Next thing you know, Jack is performing the same service for other financially successful lesbians. Then the trouble begins.
Though some have criticized the film for its stereotyping of lesbians and lesbian couples, one thing to keep in mind is that nearly every character is an exaggerated stereotype -- Woody Harrelson as the slimy corporate executive, John Turturro as the textbook Mafia boss, and even Jack's character is the ultra-idealized Harvard MBA-wielding buppie -- but this is essential for satire, is it not? Filmbrain really needs to see this again to figure out how he really feels about it, but he recommends it nonetheless -- it's certainly better than most of the summer dreck out there. Plus, the film features David Bennent, somebody Filmbrain hasn't seen since he played little Oskar Matzerath in 1979's The Tin Drum. (How cool is that, and how on earth did Spike choose him?)
Michael Winterbottom is one of the most interesting directors working today. Refusing to be identified with a particular genre or film style, he is continually re-inventing himself. Though not all the films are brilliant (his best is still 1999's Wonderland), his track record for the last eight years is pretty impressive. His two films from 2002, 24 Hour Party People and In This World (which was all but ignored in this country) were two of the best from that year.
2003's Code 46 (which just opened in NYC) is a peculiar little film -- sort of a cross between Brave New World and Eternal Sunshine of the Spotless Mind.
The film is set in a near-future dystopia in which the world has clearly gotten a bit smaller (characters speak in a mixture of English, Spanish, French, Chinese and Arabic), and cloning and in-vitro fertilization have spiraled out of control. So much so in fact, that there is the need for Code 46, which calls for mandatory precoital screenings in order to prevent genetically incestuous reproduction. [Note - slight spoilers follow.] Tim Robbins plays William, an insurance investigator sent to Shanghai to look into a security breach at the Sphinx corporation, who manufacture "papelles" that allow for transport outside of the city. There he meets and almost immediately falls in love with an employee, Maria (the good-in-anything Samantha Morton). The two have a brief affair that leaves Maria pregnant, even though they have committed (unknowingly) a Code 46 violation -- let's just say it's Oedipal in nature. As a result, Maria's memory of William is wiped clean, and he must take drastic measures in order to regain her love. The film's climax, which is extremely sudden, finds the innocent character punished -- forced to suffer with memories, while the other has their memory wiped clean, unaware of the pain left behind.
Significantly bleaker than Eternal Sunshine of the Spotless Mind, Code 46 suffers a bit from brevity -- just as the story of the two lovers on the run gets going (and we have traveled halfway around the world) the ending appears out of nowhere. This was most likely intentional, as it makes the blow a bit harder.
The film boasts an interesting international cast, including Om Puri and the great Jeanne Balibar, though she's not given much to do here. (Why does Filmbrain have the feeling this was once much longer?) The best moment in the film (which for some reason made Filmbrain think of Marleigh) takes place in a karaoke bar. A man in a suit takes the mike and sings a rather lackluster version of Should I Stay or Should I Go -- and it's none other than Mr. Mick Jones himself.
Code 46 won't find you leaving the theater with a big smile on your face, though it does raise some interesting questions about the future of sexual relations once cloning and genetic engineering become as common as breast implants and botox injections. A heartbreaking little film that is definitely worth seeing.
Filmbrain finally had a chance to see Lady Snowblood, the 1973 Toho film that was a huge source of inspiration for Quentin Tarantino when writing Kill Bill -- though Quentin took more than just the storyline.
The film shares quite a bit with the Lone Wolf and Cub and Zatoichi series, which were made around the same time -- all are period pieces with strong characters, lots of close-ups, and geysers of bright red blood that ejaculate from those that taste Yuki's (aka Lady Snowblood) blade. The story takes place during the Meiji restoration, a rather chaotic period in Japan's history (the film includes a brief history lesson for those not in the know), and tells of a woman who was born with and for one purpose only -- to complete the roaring rampage of revenge that her mother could not. Unlike Kill Bill, there is a strong political subtext to the inciting event -- the murder of Gou and rape of Sayo (Yuki's mother) by a band of brigands occurs when they mistakenly identify Gou as a government official. Sayo, determined to take revenge, kills one of her attackers, but is sent to prison. There, she beds every prison guard possible so that she may give birth to a child that will complete her task. Enter Yuki. Trained as a child to be a killer, her lifelong quest becomes the hunting down of the remaining three.
The most interesting thing about the film is the way in which Yuki is portrayed. Like a machine programmed to perform only one function, there is nary a moment where Yuki is shown doing or thinking about anything else, and actress Kaji Meiko plays her to stoic perfection -- so much so that her one big emotional outburst at the film's conclusion feels like a pressure valve being released.
With Kill Bill, Quentin turned the Lady Snowblood story into a more personal tale of individual revenge, with both The Bride and O-Ren taking qualities of Yuki and her mother Sayo. But the similarities don't end there. There are visual elements in Lady Snowblood that found their way into Tarantino's film, including the use of close-ups, an anime section (manga in Lady Snowblood), and, well....the shot shown on the right. Both films are told in non-linear fashion, though that's something that Tarantino has used in almost all of his films. The use of chapter headings was also lifted, although Tarantino settled for simple descriptive titles (The Origin of O-Ren) instead of something more poetic (Crying Bamboo Dolls of the Netherworlds.) Both films feature climactic fight scenes in snowy courtyards, use the song Shura no Hana, and end with a perfect opportunity for a sequel. (A Lady Snowblood sequel exists, though Filmbrain hasn't seen it yet.)
Unlike Reservoir Dogs, which is an un-credited port of Ringo Lam's City on Fire, Tarantino has been very forthcoming about the films that influenced Kill Bill, and this review is not about accusing him of any shenanigans. However, Filmbrain's biggest gripe with Kill Bill is that Tarantino spent so much time paying homage that he got lazy with the screenplay. But let's not open that can of worms again. . .
Lady Snowblood isn't a great film, but it is a fine example of the type of films Toho Studios was producing in the early 70's. Besides the aforementioned performance by Kaji Meiko, one of the best things the films has to offer is a super-cool psychedelic free-jazz score that works, even though it's far out of place in a Meiji restoration period film. (Available on Netflix.)
First off, a reminder that Last Life in the Universe, a contender for Filmbrain's favorite film of 2004 is now playing in NYC, at the Cinema Village. Please go see it -- you won't be disappointed -- one of the most beautiful films in ages. (Karen, Aaron, George, Scotty, -- Filmbrain is looking in your direction. . .)
Filmbrain has been invited by the fine folks hosting the New York Korean Film Festival to appear as a guest on a panel discussion about contemporary Korean cinema. The discussion is being hosted by Village Voice film critic Michael Atkinson, and will feature four Korean directors whose films are part of the festival. Much more on the discussion, and the festival in general, in a few days.
As Karen Cinecultist pointed out earlier this week, there is a disagreement between Aaron Out of Focus and Uncle Grambo over The Brown Bunny. Filmbrain and Aaron have already exchanged their differences of opinion on Gallo, but Filmbrain will finally be able to offer his opinion of the film in just a few days -- he's been invited to a screening this Wednesday. Aaron -- be prepared -- Filmbrain's gut feeling is that he'll love it.
Lastly, the Blogs of Distinction list has been updated with a few links. One excellent discovery has been Shikaku's blog, which covers the Tokyo film scene. An incredibly useful site chock full of interesting news and observations.
[Update: Scotty has seen Last Life in the Universe and posted a wonderful review that will surely convince you to see it. He also saw Takashi Miike's Gozu, something Filmbrain might go see tonight if he can get off his lazy keester.]
With Kill Bill, Quentin turned the Lady Snowblood story into a more personal tale of individual revenge, with both The Bride and O-Ren taking qualities of Yuki and her mother Sayo. But the similarities don't end there. There are visual elements in Lady Snowblood that found their way into Tarantino's film, including the use of close-ups, an anime section (manga in Lady Snowblood), and, well....the shot shown on the right. Both films are told in non-linear fashion, though that's something that Tarantino has used in almost all of his films. The use of chapter headings was also lifted, although Tarantino settled for simple descriptive titles (The Origin of O-Ren) instead of something more poetic (Crying Bamboo Dolls of the Netherworlds.) Both films feature climactic fight scenes in snowy courtyards, use the song Shura no Hana, and end with a perfect opportunity for a sequel. (A Lady Snowblood sequel exists, though Filmbrain hasn't seen it yet.)
