Archive for the “Camera 12” Category
Cinequest 21 San Jose Film Festival
Czech / Russian
Drama / Family
Allice Nellis [Little Girl Blue]
MAMAS & PAPAS is about the strange lottery aspect of human fertility. While some couples try all means of medical intervention, other couples seem to be able to become pregnant simply by glancing at each other. One couple has been trying for three years and the wife is desperate. One couple is arguing over whether their relationship is strong enough to include a child or if it should be aborted. A third couple is pregnant with their third child, but money and space is tight, and didn’t she just hear the story of a woman who legally made some money by handing over her newborn to a desperate, wealthy couple? All of these stories are sort of tied together by the fertility specialist, who has her own family sadness.
There are a few things that raise this film above the typical “baby fever” type of movies we’re all used to.
–>It’s in Czech, which instantly makes it more important. Not really, but the universality of the human experience is something we get while reading subtitles.
–>The not being sure if you want a baby that appears to be the answer to prayers is shown well.
–>As I have some experience with this whole “fertility thing”, I was happy to see an agreeable husband finally explode over being treated like a “stud bull”. Once you get deep into fertility science, all the fun of “reproduction” takes a back seat to shots and timing and specimen jars.
–>As I have some experience with the whole “adoption” thing, I was touched by scenes involving all of the tests (mental, psychological, economic) that one couple had to go through. Also, the other side of the equation (the actual birth mother) was shown with care.
The acting was uniformly good. There are some mis-steps involving scuba diving and whales, believe it or not, and the “find yourself” part of the doctor’s story never took hold of me. But the genetic lottery of who gets pregnant when, by whom, and under what circumstances did take hold of me.
MAMAS & PAPAS
Tags: Alice Nellis
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LE SENTIMENT DE LA CHAIR
March 4, 2011
Drama / Romance
Benoit = Thibault Vincon
Helena = Annabelle Hettmann
Sure, it was late, and I had been up since 5:30. And I had worked a full day. And it was my third film of the day. But holy cow, what the hell was this one all about? Helena is getting her degree in Anatomical Drawing (they didn’t offer that at UC Irvine when I was there). She observes surgeries and medical students dissecting cadavers with her sketch pad always at the ready. She believes in the beauty of the outside of people–birthmarks, scars, curves, and whatnot. She can apparently mount a successful breast examination in the shower.
Sent to the doctor because of some back pain, she somehow notices that the sexy practitioner has taken an x-ray of her, but not lower back where she’s feeling the pain. Confronted, he at first makes excuses, but then admits that he’s fascinated by a slight abnormality in her anatomy. You see, he is turned on (in the sexual and non-sexual sense) by human anatomy that differs from the norm. I’ve forgotten what her difference is, but she is not angry about a second, unnecessary x-ray, but rather turned on by his semi-professional attention.
They make a date. And have sex all over the place. Often. She memorizes his moles, he can picture her internal organs. It’s a match made in “Gray’s Anatomy.” She entices him with ever more medically intrusive procedures so that he can “know” her inside and out. MRI? Check. Surgical Scope? Check.
The ending had my audience tittering. At least those who stuck around for it. It isn’t a completely sucky movie, and I kinda get the whole “if you really loved me, you know everything about me and my body” vibe it’s going for. In fact, the feeling I got most from it was David Cronenberg’s CRASH (not to be confused with the Best Picture travesty by Paul Haggis). Where something medical and sexual combine in character’s heads. In CRASH, it was the excitement of a car crash and the disfigurement that brought. In this one, it’s how much you can expect your lover to know about your skeleton and internal organs.
I won’t say anything about the final shot, except that, though I understood the director’s reasoning, it was impossible to pull off.
March 12, 2011: Upon Further Review: I kept thinking of David Cronenberg while I was watching SENTIMENT OF THE FLESH, but now after a few days to ponder, I think I’m leaning more towards the style of Catherine Breillat. She typically takes the viewer on a wild ride that ratchets up the fetish and social acceptability until few are left at the end singing its praises. This can be rape or body fluid or murder. Some Breillat viewers only last five minutes, while others finish even the least accessible of her films, happy for the experience. SENTIMENT OF THE FLESH made a rather severe leap from realistic to plausible to way-out-there a bit too quickly, perhaps, but the themes were in line with Ms. Breillat’s work.
THE SENTIMENT OF THE FLESH.
Tags: Annabelle Hettmann
, Roberto Garzelli
, Thibault Vincon
1 Comment »
March 4, 2011
Cinequest 21 World Premiere
Drama / Romance
Elliot Carson = Parker Croft
Chloe Webb = Emilia Zoryan
One of the best pleasant surprises I’ve had in my 14 years at Cinequest.
On paper, this film had every red flag imaginable. Terminal illness, Los Angeles hipsters, a house party, a meet-cute in a Jamba Juice, an internet entrepreneur, and two incredibly adorable young people who spend a single night together. And yet…
Elliot visits his doctor the day before he has brain surgery. The doctor assures him that he’s optimistic, but we can tell from Elliot’s eyes, that he has no such positive feelings. He wears sunglasses indoors as the light bothers him and on the way home from the doctor’s office, he needs to pull over his car in order to barf. Looking for a bathroom in which to clean himself up, he ends up at an ice cream / smoothie place staffed by an almost supernaturally adorable girl named Chloe. As he walks in, she’s taking photographs of the store’s merchandise. She kindly lets him use the bathroom, he orders an “anything with bananas in it” drink, and they make smalltalk. But realistic smalltalk. Awkward, silence-filled, customer-employee smalltalk. He picks up a card for her photo exhibit that night–”you should come”–and heads back to his sparsely furnished, though expensive looking apartment, where he enjoys a bowl of cereal after closing the shades.
Trying to get his mind off of the next morning’s procedure, he heads down to Chloe’s show, where they exchange names and more conversation. Which leads to dinner, which leads to a houseparty, bike ride, security guards, danger, a hike, some music, and all those other things that can make a first night with someone magical. But eventually, Elliot will have to tell Chloe why he hasn’t eaten or drank anything since midnight, won’t he? And what if she wants to plan something for that weekend?
There are several things to say here, in bullet-point format:
–the cinematographer and director find a way to perfectly capture the dizziness, migraine, and ear-ringing that accompany someone who is about to barf. I can’t recall ever feeling someone’s nausea quite so vividly. The sound quiets, the lights get brighter, and the speed sort of changes. Very well done.
–The young woman who plays Chloe, Emilia Zoryan, looks like an “almost” Minka Kelly from FRIDAY NIGHT LIGHTS. She has these huge, soulful eyes that stare at Elliot, often when he isn’t looking. She is convincing as a normal, LA girl, who works in a store, but longs for great, artistic things.
–The young man is played by Parker Croft, who was one of the writers of the film. He looks like an even-thinner young Roger Daltrey, all angles, and bones, with a big mop of blonde hair on his head. He has this slow-blinking, surfer drawl dialogue delivery that somehow isn’t annoying. Because it sounds like a kid his age. And with his very thin frame and our knowledge of his condition, we can’t help but cheer for him as he tries to experience a memorable night on what might be his last.
–The two leads, while conversing–both initially meeting, and as the topics get deeper–sound perfect together. At the Q & A after the film, it was learned that the crew filmed this over a two week period of nights. And I know that Parker was one of the writers. But something more is happening here. I don’t know if they work-shopped the dialogue or were given a simple framework upon which to improvise around. The two 20ish actors are speaking like two 20ish people who are meeting someone they might end up eventually liking. The honest awkwardness of silences, of jokes that don’t land, of spilling food on a first date–all of it seems real. They don’t finish each others sentences and they mostly don’t have a rapid-fire HIS GIRL FRIDAY thing happening. It just seems more organic. Or else I was just fooled, which is good enough for me.
–The music worked, especially a “concert in a tunnel” where someone’s friend of a friend is performing on guitar and a tiny amp. The crowd looks happy, if a bit too hip and good-looking. The other songs didn’t hit us over the head. There was no “brain tumor theme” for example.
–A new romance causes us to completely lose track of time, and somehow that feeling was communicated in this film. Everything they do could plausibly have taken place during one night. But looking back on memories of perfect nights with perfect people, we never really relay that story perfectly, do we? Maybe the bike ride took four hours and maybe it was just around the block. The important thing was who you were with, not how long it really lasted.
–Capturing blossoming feelings is incredibly difficult on screen. You have to believe in the chemistry of the two people. They have to be realistically right for each other. There has to be something in each of them that would attract the other. All of these things work in this film. Though, due to Elliot’s condition, he needs to hold back his feelings more than Chloe does. I thought that she fell too hard for him too early. Plus, she’s adorable. Why doesn’t she already have something to do that night?
–Another entirely tiny positive thing that no one probably noticed but me. Both members of the couple sustain minor injuries during their night together. Hers is much less conspicuous. But I noticed that the continuity didn’t lapse when I saw her in a later scene. Attention to detail=A.
Lest it sound like it was perfect, let me slow down that impression now.
–The hipster, mostly white-people, young and funny, houseparty birthday “my friends are outrageous” stuff was almost a bit much for me. Almost. A sobbing birthday girl, a cynical bearded friend, a guy with one of those stupid knit hats with the ear flaps, a conversation about grilled cheese, a top-half-clothing-trade. If I wasn’t so invested in the couple’s beginning, I would have hated, hated, hated that group of people. They hike up an LA mountain, where a group of people has cold beer ready and a tree adorned with lights and a couch and deep and shallow conversations abound. I get that this is a real thing that happens, but that doesn’t mean it makes good cinema. When I was their age, my friends and I acted exactly like them. If you are between the ages of 16 and 30, you’ll even love these scenes.
–Both actors were pretty spectacular, especially when compared to their resumes. Parker was a bit stronger than Emilia, but her big eyes go a long way towards helping us forget that. Parker has a big scene that starts with spinning a globe that I never quite bought. I wanted to, but it was too long, too close-up, too monologue-ish. That was the only misstep I could find in his performance.
In conclusion, I’m almost embarrassed by how much I like FALLING OVERNIGHT. I’m a sucker for the falling in like part of cinema relationships (BEFORE SUNRISE remains the gold standard), but the LA location, the age of the participants, the extra “bonus” of a brain tumor, all told me to avoid this film. I’m glad I didn’t.
Tags: Conrad Jackson
, Emilia Zoryan
, Parker Croft
1 Comment »
March 4, 2011
Qiao Yu’e = Lisa Lu
Liu Yangheng = Feng Ling
Lu Shanmin = Cai-gen Yu
Liu fled China for Taiwan 50 years ago during the Communist Revolution. He has come back to an unrecognizable Shanghai and would like to reconnect with his girlfriend from before the war and bring her back to Taiwan with him. Unfortunately for his plans, she leads a broad family of three generations, none of whom is exactly happy to see the man. Oh yeah, and she’s been happily married to “a good man” named Lu for more than 40 years.
The family is understandably upset with Liu’s plans. The sisters bicker, the businessman son-in-law wants to look at it like a business proposition, the oldest son, who is Liu’s biological child, wants to leave it up to his mother. It’s none of his business, he says.
The hip, cool, and bored 20ish granddaughter is put in charge of showing Liu the sights of Shanghai. The city becomes another character in the film. When Liu left, it surely wasn’t the economic powerhouse it is today.
Just about the only person who isn’t upset with Liu’s plan is Yu’e's husband, Lu. He seems fine. In several hilarious scenes, he shows just how okay he is with his wife leaving him for another country. He refuses money and drinks a toast in honor of the man about to take his wife away.
There is a hilarious section where the couple get caught in a bureaucratic nightmare after being told they were never “officially” married all those decades ago. “What can we do?” “Go next door and get a marriage license and then bring it back here for the divorce.” The wrinkled couple poses for their first wedding portrait sandwiched between much younger newlyweds.
Lisa Lu, as the center of this love triangle, plays her role with quiet reserve. But her eyes tell us everything we need to know about her thoughts. She may have been playing the “what if” game for 50 years–since Liu left. Or perhaps she just wants a late-life change.
And why on earth is her husband Lu, being so peaceful about the whole thing?
One of the rare Asian offerings at this year’s Cinequest Film Festival.
Tags: Cai-gen Yu
, Feng Ling
, Lisa Lu
, Quan'an Wang
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June 10, 2009
San Jose CA — Camera 12
100 Minutes — June 5, 2009
Todd Phillips [Old School]
The Hangover @ Amazon
, Todd Phillips
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June 10, 2009
San Jose CA — Camera 12
99 Minutes — May 29, 2009
Horror / Thriller
Sam Raimi [Darkman; A Simple Plan; Spider-Man; Spider-Man 2; Spider-Man 3]
DRAG ME TO HELL is the subject of Cinebanter Podcast Number 73. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:
• 00:00 Intro
• 00:32 DRAG ME TO HELL Discussion
• 27:13 To Sum It Up
• 28:07 SIFF 2009
• 50:38 Credits and Outtake
Drag Me to Hell @ Amazon
DRAG ME TO HELL
, Sam Raimi
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September 24, 2008
San Jose CA — Camera 12
115 Minutes — September 26, 2008
Comedy / Drama
Neil Burger [The Illusionist]
Sometimes Losing Your Way Home Means Finding Yourself
There isn’t much to this film. Three soldiers, injured in combat, take the same flight from Germany to New York City. They fall into easy conversation on the flight, discussing where they were stationed, why they’re going home, and for how long. Colee (Rachel McAdams) is naive and open and trusting, and does most of the talking. Cheever is played by Tim Robbins as a man whose career in the reserves has come to an end. He can’t wait to get home, see his family, and get reacquainted with the civilian world. TK (Michael Pena) is a macho soldier coming to grips with an injury to his manhood (literally), though he describes his wound as “upper thigh”.
A power outage means that each of their connecting flights has been canceled. The kindness of the guy at the Dollar Car Rental counter (You guys Army? I have one car left) means they are soon on their way in a rented minivan to see the country and to drive non-stop to St. Louis where Cheever will be home and the other two will catch flights to their final destinations.
There is nothing new or unique in this film, whatsoever. Cheever’s wife will chose his arrival to announce their divorce, his son will be proud of his acceptance to Stanford and in the next breath will say “they need $20,000 by next Saturday.” There will be a bar fight, car trouble, people blaming them for the conduct of the war, tears, hugs, romance, jail, and humor. They will all end up in Vegas because that’s where road trip movies end up these days.
I have nothing against road movies. In fact, I rather like the idea of being forced by circumstance to get to know other people while experiencing (or at least driving quickly past) the vastness of the US of A. But, even for a road trip film, this thing meanders all over the place. It aspires to be something bigger–the story of three people learning about the country they’re fighting and being wounded for. They don’t know about American Idol, or the way cocktail chatter often revolves around how bad a mistake Iraq was. They are told “thank you” on a half-dozen occasions, by people they come into contact with, though it seems people say it more out of a sense of duty or relief that it isn’t them in the fatigues, than any actual feelings of gratitude.
The three leads are more than up to the task. McAdams is fiery and beautiful and isn’t as unbelievable as you might imagine as a combat veteran. Robbins is normal and puts aside his usual smarter-than-thou persona to good use–although his marital meltdown seems out of place for his level-headed character. Pena is becoming a very good actor–he’s charismatic, bull-headed, and afraid his fiance will leave him when she learns of his “infirmity”.
But the script is a mess. There are situations that don’t really happen and then there are situations that everyone in the audience sees coming long before the characters do. Robbins hooks up at a BBQ for no other reason than comic effect. There is a preposterous scene involving a tornado (in New Mexico or Colorado, I think) when TK and Colee head off to the store for some powerbars, encounter ominous clouds, then rain, then hail, then they pull over to the side of the road. A tornado appears (ILM has nothing to worry here about effects-wise) but they still have time to have a discussion about getting out of the car and running to a conveniently located drainage pipe under the freeway where the two attractive leads can hold each other while the scary storm blows past. They then get in their car, which shows no proof of the near-fatal twister, and head back to a campground to pick up Cheever, never mentioning it again.
There’s a plot about a guitar handed down from Elvis Presley to Colee’s late boyfriend. Will she return it to his family or give it to Cheever for his son’s tuition? How will Cheever find the money? Will TK really run to Canada to avoid his third tour of duty? Why is there a scene in a Nevada jail?
None of this adds up to much. These three actors deserve much better.
The Lucky Ones @ Amazon
THE LUCKY ONES
, Michael Pena
, Neil Burger
, Rachel McAdams
, Tim Robbins
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September 23, 2008
San Jose CA — Camera 12
USA / Italy
English / German / Italian
160 Minutes — September 26, 2008
Action / Crime / Drama / Thriller / War
Spike Lee [Joe's Bed-Stuy Barbershop: We Cut Heads; She's Gotta Have It; School Daze; Do The Right Thing; Mo' Better Blues; Jungle Fever; Malcolm X; Crooklyn; Girl 6; Get On The Bus; 4 Little Girls; He Got Game; Inside Man; When The Levees Broke: A Requiem In Four Acts]
World War II Has Its Heroes And Its Miracles
This mess of a film was good for the first ten of its excruciatingly long 160-minute running time. Then it went downhill fast. And rather than redeem itself with the second half of its modern-day bookend, it just grew more preposterous, more preachy, more loud, and worst of all, more disjointed. It’s like ten films in one, none of which is related to any of the other nine. Comedy? History lesson? Romance? Film about honor? Is it about a long-held grudge? American Imperialism? 1940s lunch counter politics? I have no idea. But none of these different ideas are close to being clearly depicted on the screen. To say this film is disappointing is far too weak an analysis of its failures.
I need to preface a couple of things. You’ll see by the list of films of Lee’s that I’ve seen that I am a loyal and rabid fan of his. Malcolm X was an almost completely successful sweeping epic that captured 40 years of American history. Do The Right Thing expertly captured New York City race relations in 1989. His documentaries, 4 Little Girls and When The Levees Broke are proof that he can master the non-fiction realm as well. I didn’t mind School Daze or She’s Gotta Have It. Inside Man showed that he could do big budget as well as small. Crooklyn didn’t work for me so much. But Jungle Fever and it’s portrayal of both taboo love and Sam Jackson and Halle Berry as crackheads was pretty spectacular.
So I come from a position of wanting Lee to succeed, even when he plays outside his comfort zone in this case by trying to construct a film in three languages, with modern and 1940s elements, and bombastic war movie special effects. You want to give him props for trying. But then it gets worse and worse.
A gray-haired black man is watching a John Wayne WWII film on his television and says to no one in particular, “We fought for this country, too.” That’s how the film starts and it is typical Spike Lee. It’s almost like you have to go into this film never having read, heard, or seen any depictions of the African American experience in the 20th century. Of course black men fought in World War II (and every other war afterward), but would a man watching a late-night movie alone actually talk back to the screen? When he listens to old Benny Goodman records, does he say “We made music too”. Yes, I understand that portrayals of the brave black fighting men of the war are few and far between, but he starts the film by treating the audience as idiots.
The man works in a post office (which is confusing because during the war scenes there’s a guy named “Stamps”) and he goes through his assigned window tasks with little happiness or human interaction. A customer with an accent asks to mail something, the worker pulls out a German pistol, shoots the man point blank in front of horrified witnesses and then calmly closes his window and awaits arrest.
Enter John Turturro as a cop and Joseph Gordon-Levitt as a cub reporter. They will have a conversation scene shot as only Lee can, with fast-moving circling camera angles. A search of the man’s apartment turns up the head of a statue and we know it’s important because the cynical academic expert is rendered speechless when the head is unwrapped in front of him. We are hammered on the head over and over while watching this film. We get it: it’s a priceless artifact that was in a shopping bag in this guy’s closet. We will never see Turturro again and Levitt won’t return for more than two hours. A newspaper story ends up in Rome on the desk of John Leguizamo, who here plays some sort of Nazi-art collector who has a girlfriend who can’t get enough loving from him and before he can read the story he is jumped on by his hottie who causes the newspaper to fly out the window onto the table of a man enjoying a coffee at a street cafe. If that isn’t ridiculous enough, just wait 45 seconds because that’s how long it takes this man to stand up, read the article, and then–I’m not joking here–be so shocked by it that he pours his cup of coffee out in extra-slow-motion followed by the cup and then the saucer smashing on the cobblestone. Please re-read that scene. Man attacked by girlfriend throws paper out of window it lands on the one guy in all of Italy who knows the story of the statue, he stands up, spills his coffee, breaks the cup, and runs out of frame. What in the world is going on here?
We then flashback to the “Buffalo Soldiers” platoon as they bumble their way across a field. To say that they aren’t a tip-top fighting corps is an understatement. We see the same statue in a bag attached to an overweight, and seemingly borderline-retarded soldier named “Train”. But he’s the least of their problems. There are sobbing soldiers, loud soldiers, absent-minded soldiers–this is the gang that can’t shoot straight. They are being sent to cross a river in a suicide mission drawn up by their racist superior. (There are only a handful of white Americans in the film and just about all of them are virulent racists).
Fans of the late, great WIRE on HBO will want to know that not only is Omar Back! but Omar Scared! and then Omar Dead!
This scene has all of the problems of the film in one place. 1) the music is appallingly loud. Not just a bit loud, but loud enough to not be able to hear what the characters are saying; It swells up for no reason as if the composer had no idea what scene he was writing for. This happens more than I’d like in all Spike Lee films, but in this case it took me right out of what was happening. It’s loud, then soft, with no corresponding reason depicted on the screen. 2) The man in charge of them is played by Detective Shane on The Shield, so we know he’ll be an incredible racist who will endanger his men, not believe they could succeed, and then court-marshal them on a trumped up charge. 3) Limbs are blown off and mortars explode in bloody slow-motion as if Lee is saying “look what I can do with a big budget and military advisers.” 4) But most artificially, is the fact that a loudspeaker truck is moved into position and we cut to a radio studio where an attractive, blonde German woman begins her propaganda war. Instead of Tokyo Rose, we get Axis Sally. I have no doubt that this was part of Germany’s strategy to have troops second-guess themselves. But it’s not that she’s speaking, it’s what she’s saying. She begins to give the soldiers (and viewers) a lesson in the African-American assimilation experience. She brings up lunch counters and job opportunities. She says that America will never treat black people equally, she encourages them to put down their weapons and change teams over to Germany. As if no one knew of the Final Solution or Hitler’s views on non-white people. She then switches to speaking more sexually–if you put down your weapons, German women will worship you because deep down they all want to sleep with a strong, black man. Not to mention, we have fried chicken and biscuits just like momma used to make. The words she says are absolutely ridiculous.
Some of the men succeed in crossing the river, radio back to base where the superior assumes that they’re mistaken or are lying, and orders an artillery strike on their very position, killing several of his own men. The ones that make it do so by sheer luck.
At an abandoned farm house they come into contact with an Italian boy who is injured and who may have special mystical powers. The big soldier says that the boy is the first white person he’s ever touched. The Italian boy calls him “Chocolate Giant” in Italian. They end up communicating with taps on each other’s shoulders. The Chocolate Giant, Train, is played in what appears to be an homage to Lenny from Of Mice And Men. The boy won’t let anyone else carry him, Train doesn’t let any harm come to him, and whoever stays close by the child somehow stays out of harm’s way.
The small group bumbles their way to an Italian village where they’re told they’re surrounded by the German army by the one person in the village fluent in English (she claims to have been a nanny) who also happens to be the one model-quality female for miles. Both leaders have their eyes on her, one is tacky and forward, the other is polite and respectful. Guess which one she sleeps with first.
Most will die, there will be honor and betrayal. The movie is all over the place. It’s the kind of film where one soldier says to the other “It’s a SNAFU–situation normal all fucked up.” So he says the acronym and then explains the acronym thereby setting aside the point of an acronym. Lee wants to give us a lesson at every turn, not a story. The woman will take off her shirt at the clothesline, pause as she sees the polite soldier is watching, taunt him with a “haven’t you seen a naked woman before?”, and then change her mind and bang the more aggressive soldier. But that’s not all. The guy comes out of the house pulling up his pants, the woman comes out wearing his helmet, smoking a cigarette, and holding his rifle. Then the two men have a fight over her honor. Yikes.
But wait, there’s more. An entire church full of people is led to a courtyard and told they have one minute to turn over an Italian freedom fighter, even though he’s not there. The priest begs the men to kill him and let the others go. He begins to lead his congregation in prayer. When it looks like the Germans are about to open fire, they hold a pistol up to the priests head. But before they kill him, he has time for a quick prayer about forgiveness which ends exactly when the slow motion bullet goes through his brain. Every character has time for a death-bed declaration or another story about racism or the futility of war.
Everything is obvious. The good guys, the bad guys, the good women, the bad women. Who’s a good soldier, who’s a racist, who’s a caring German, who’s a turncoat Italian.
There is at least one striking and perfect scene in the 160-minute running time. There is a flashback to a time before the soldiers are shipped out from America which takes place in the south. The men want ice cream and stop at a lunch counter where German prisoners are being fed lunch on their way to prison. The cracker owner threatens them with a gun and tells them to go around back if they want any food. The soldiers point out that the Germans are served inside and they’re the enemy. The racist says to his son “That’s how they need to be treated” or something. The soldiers drive away pissed. This incident is one of many that I’ve read about up through the Cuban Missile Crisis in the 60s where soldiers who are literally on their way to die for their country can’t even get a meal in the south. This is one instance of historical instruction that I’m glad Lee handled. Even though the owner is just this side of a characature, the scene rings true. As does a wordless scene when the jeep pulls a U-turn, heads back into the town, and the soldiers come charging in–rifles aimed–and demand their ice cream. The man can’t serve them quickly enough. We cut back to Italy and the four surviving men and the child are staring at the camera for a long, long time with a look of disgust on their faces as if they’re collectively remembering the ice cream incident at exactly the same time.
The shot is framed as if it were a snapshot of the common black soldier experience in WWII Europe. That experience, rather than just being shown to us by Lee, is then unfortunately hammered down on us when a character has to explain how torn up he is about fighting for a country in which he can’t even vote, while experiencing Europe where he feels more welcome than he does in his own country. The scene ends with the men moving out of frame one at a time. It’s pretty striking.
We know we’ll see the man who spilled the coffee, we know we have to be book-ended back to NYC in the 1980s to see what happens to our hero. But what we don’t expect, and what has no real purpose that I can tell, is a meeting on a Bahama beach. “Where Am I?” the character asks, seeming to forget that he just got off a plane whose ticket probably had the destination on it. “Someone wants to meet you.”
I want to commend Lee for trying such a sweeping story, with flashbacks, history, and three languages. But it fails on just about every level. A complete disappointment.
For a much better take on soldiers fighting and dying for a country that doesn’t think of them as equals, please see DAYS OF GLORY.
Miracle at St. Anna @ Amazon
MIRACLE AT ST. ANNA
, John Turturro
, Joseph Gordon-Levitt
, Spike Lee
2 Comments »
THE LAST MISTRESS
July 31, 2008
San Jose CA — Camera 12
France / Italy
104 Minutes — June 27, 2008
Catherine Breillat [Last Tango In Paris; Romance; Fat Girl]
THE LAST MISTRESS is the subject of Cinebanter Podcast Number 57. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:
• 00:00 Intro
• 00:30 THE LAST MISTRESS Discussion
• 14:35 To Sum It Up
• 15:20 PINEAPPLE EXPRESS Discussion
• 34:35 To Sum It Up
• 35:15 The Last Five®
• 1:01:10 Show Notes/Credits and Outtakes
Asia Argento [Queen Margot; Last Days; Marie Antoinette]
THE LAST MISTRESS
, Asia Argento
, Catherine Breillat
3 Comments »