What a coincidence. Toni Gonzaga's WE BELONG sounds almost the same as Utada Hikaru's FIRST LOVE. If the former is a version of the latter, why change the title? The chorus lyrics are different, but the melody is strangely the same. Or maybe it's just my ears.
Sunday, July 27, 2008
Thursday, July 24, 2008
LA LA LA LA LA!
Adam and Steve
Directed by Craig Chester; USA - 100 minutes, In English
Combining irreverent humor and heartfelt romance, Adam & Steve co-opts American cinematic 'formulas', namely the romantic comedy and movie musical, and turns them inside out while paying homage to them at the same time. Adam & Steve follows the romantic trajectory of two people struggling to make love work in spite of overwhelming odds. Having met in the 80's after a disastrous one night stand, Adam (Craig Chester) & Steve (Malcolm Gets) don't recognize each other when they meet again fifteen years later. With the help of their best friends, formerly obese stand up comic Rhonda (Parker Posey) and ladies man Michael (Chris Kattan of Saturday Night Live), our protagonists fall in love only to realize, a year into their relationship, that they met before and unwittingly changed the course of each other's lives that fateful night in the 80's.
I saw this at the Cine Adarna of UP Diliman with a friend last Thursday night. I went there to interview her on her upcoming one-woman photo exhibit and also to take note of the schedule of Cinemalaya 2008 at Adarna. I never realized how cavernous the UP Film Center was until that night: an 800-seater, spacious and freezing cold theatre with somewhat bad acoustics but it had nice, clean red-faux leather seats. Anyway, if my eyes were turbines, I would have created enough electricity to power this part of Metro Manila. Adam & Steve is a tribute to all that is formulaic in American films. Just leave your life issues at home, sit back and enjoy it.
______________________________
Cinemalaya 2008 @ UP Diliman
July 28
Baby Angelo, 5PM
Concerto, 7.30PM
July 29
Jay, 5PM
Huling Pasada, 7.30PM
July 30
Brutus, 5PM
Namets, 7.30PM
July 31
100, 5PM
My Fake American Accent, 7.30PM
August 4
Boses, 5PM
Ranchero, 7.30PM
WEEKEND AMUSEMENTS
Here's something really amusing from Yahoo! Movies. ^_^ Happy weekend, everyone!
We all accept that movies stretch the truth in the interest of building drama. The following ten flicks, however, treat the truth like it was Silly Putty - pulling and twisting it until it's unrecognizable.
If movies were completely scientifically accurate, they'd probably be as interesting as a Physics 101 lecture. In real life, there are no explosions in space, gas usually doesn't explode from a lit cigarette, and Bruce Willis/Jackie Chan/Will Smith would most likely be in a coma after getting kicked in the head. Some movies, though, put science front and center in the story and more often than not the science proves to be head-slappingly bad. Here are some of the worst offenders.
We all accept that movies stretch the truth in the interest of building drama. The following ten flicks, however, treat the truth like it was Silly Putty - pulling and twisting it until it's unrecognizable.
If movies were completely scientifically accurate, they'd probably be as interesting as a Physics 101 lecture. In real life, there are no explosions in space, gas usually doesn't explode from a lit cigarette, and Bruce Willis/Jackie Chan/Will Smith would most likely be in a coma after getting kicked in the head. Some movies, though, put science front and center in the story and more often than not the science proves to be head-slappingly bad. Here are some of the worst offenders.
Monday, July 21, 2008
CINEMALAYA 2008 WINNERS
Here are the winners of the recently concluded 2008 Cinemalaya Philippine Independent Film Festival awards night held at the Cultural Center of the Philippines.
FULL-LENGTH FILMS
Best Actress - Mylene Dizon, “100″
Best Actor - Baron Geisler, “Jay”
Best Supporting Actor - Yul Servo, “Brutus”
Best Supporting Actress - Eugene Domingo, “100″
Best Director - Chris Martinez, “100″
Best Film - “Jay”
Audience Choice - “100″ (directed by Chris Martinez)
Best Cinematography (tie) - Jay Abello, “Brutus” and Dan Villegas, “Huling Pasada”
Best Screenplay - Chris Martinez, “100″
Best Editiing - Francis Pasion, “Jay”
Special Jury Prize - “Brutus” (directed by Tara Illenberg)
Best Sound Design - Lito Cruz, “Ranchero”
Best Original Music - Joey Ayala, “Brutus”
Best Production Design - Cristina Honrado, “Baby Angelo”
SHORTS
Best Director - Mark Reyes for “God Only Knows”
Audience Choice - “God Only Knows” (directed by Mark Reyes)
Best Screenplay (Best Short) - “Andong” (directed by Rommel Tolentino)
Special Jury Citation - “Angan Angan (Dreams)” (directed by Sheron Dayoc)
Best Special Jury Citation - “My Pet” (directed by Anna Bigornia)
FULL-LENGTH FILMS
Best Actress - Mylene Dizon, “100″
Best Actor - Baron Geisler, “Jay”
Best Supporting Actor - Yul Servo, “Brutus”
Best Supporting Actress - Eugene Domingo, “100″
Best Director - Chris Martinez, “100″
Best Film - “Jay”
Audience Choice - “100″ (directed by Chris Martinez)
Best Cinematography (tie) - Jay Abello, “Brutus” and Dan Villegas, “Huling Pasada”
Best Screenplay - Chris Martinez, “100″
Best Editiing - Francis Pasion, “Jay”
Special Jury Prize - “Brutus” (directed by Tara Illenberg)
Best Sound Design - Lito Cruz, “Ranchero”
Best Original Music - Joey Ayala, “Brutus”
Best Production Design - Cristina Honrado, “Baby Angelo”
SHORTS
Best Director - Mark Reyes for “God Only Knows”
Audience Choice - “God Only Knows” (directed by Mark Reyes)
Best Screenplay (Best Short) - “Andong” (directed by Rommel Tolentino)
Special Jury Citation - “Angan Angan (Dreams)” (directed by Sheron Dayoc)
Best Special Jury Citation - “My Pet” (directed by Anna Bigornia)
Sunday, July 20, 2008
LOMO IS A MANY SPLENDORED THING
Everyone, please say hello to Sasha. It's currently loaded with a roll of Fuji Superia X-tra 400.
Super, super duper thanks to MS for this!
Wednesday, July 16, 2008
REVIEW: CINEMALAYA 2008 SHORTS A
At last, I finally had the gumption to attend the Cinemalaya at the CCP. I barely made it to Shorts B (at least now I know I can actually make it to Manila from Antipolo in an hour if I pass via C5 and The Fort), but the tickets were all sold out (wow) pero the heavens looked kindly upon my efforts and rewarded me with a Shorts A ticket which somebody refunded just when I was about to fume. Awww. The universe does conspire...
While killing 2 hours of my time, I found myself in an unbelievably half-empty CCP Shop. What happened? Somebody should stock the gift shop, quick! It's a national embarrassment! If you need someone to search high and low for Philippine souvenirs, you know who to call. *wink, wink* Sigh. I am so shameless. At any rate, got the two volumes of The Essential Brocka released by Unitel. They include the films Insiang, Tatlo Dalawa Isa, Ang Tatay kong Nanay, and Tinimbang Ka Ngunit Kulang. If you buy all four, it will only cost Php 325/DVD. Individually bought, each will cost Php 450. Carrot on a stick, and I willingly bit into the offer. In fact I already saw Ang Tatay kong Nanay this dawn immediately when I got home, and I enjoyed it immensely. The social conditions have not changed at all, have they?
Now, on with the shows.
First things first. I honestly think the shorts look so much better this year. In fact, they seem to be improving in terms of technicals as the festival progresses, which I think is good. The digital age offers so much variety of technology that it would be a sin for a director not to fully tap this exciting medium. The shots are better, there's a delicious patina to every work, and the editing is more inspired. The stories (the heart of the matter), however, remain stuck to what I have dubbed as the 3 Ks of local indie cinema: Kahirapan, Kamunduhan, and Kabaklaan. How truly exciting.
ANG IBANG MGA PAMILYA (OTHER FAMILIES) by Joel P. Ruiz (Baby Angelo, Mansyon) is about a woman who overcomes the grief of losing her adopted son. Come to think of it, she never really overcame the loss. She was in perpetual grief. Ang Ibang Mga Pamilya had a very promising start. You know it's bound to be special, but it eventually gave way to cliches until it eventually fell apart (talk about unfulfilled promises). The tepid, slow progress of this film makes for a lousy opener and I think the story is nothing special and the narrative is beyond redemption. Great photography and editing though. The film is bathed throughout in a warm, comforting light which gives it the somber mood it's supposed to have. However, quoting A Chorus Line, "And I dug right down to the bottom of my soul / and cried / 'cause I felt... nothing."
DIAMANTE SA LANGIT (DIAMOND IN THE SKY) by Vic Acedillo, Jr. (Screenplay, Batad: Sa Paang Palay) is about two brothers' journey to compete in a kite flying contest. But getting there takes some time. In the end, they face something unexpected and discover something more precious than winning. Like the first short, this work had so much promise in the beginning, but it is rather predictable. You actually already know what's going to happen next. The Director's unique problem was how to attack that predictability and come up with an intelligent or, at the very least, a heartwarming ending. Diamante is another case of the writer-director now knowing when to stop while he's on top of the game. He gave in to a happy ending when he could have stopped shooting when the two boys arrived at the kite festival and realized their plastic-bag kite was no match to the other's. Long shot, fade, music. Hindi naman po ipinagbabawal ang sad endings, di ba? But he didn't because that would be fulfilling audience expectations (because we know that's how it'd turn out at the onset). In the end, it became a meandering video of two boys giving themselves a pat on the back for making it this far. And that last line about their kite being still the best one? We didn't have to hear it, really. We already know.
Nice closing shots of the Pampanga plains though with the unmistakable Mount Arayat in the background. Made me miss my childhood days except that I didn't like flying kites. I threw stones at houses instead (mamuga cung batu kareng bale bale!).
GOD ONLY KNOWS by Mark V. Reyes (Last Full Show; Best Short, 2004 Turin) focuses on the disturbing and gut wrenching tale about the realities of life in the sprawling metropolis of Manila. If this was made by a writer-director who did not grow up here in Manila then I will have to muster up the courage to forgive him (but this is not so, in fact). This film displays complete ignorance of Philippine culture (I wish to discuss a little sociology, but I'm not in the mood to educate. The director happened to be in the room when this was being viewed). Sure, paedophilia is a reality in the Philippines; sure, we have our Payatas dump (and we show it ever so proudly in our films like an old, ragged medal) but surely the writer could care to see beyond all these and find other aspects of the problem to discuss? I can tell he's after the shock value (I felt like laughing), but in this country where we eat scandals and contoversies for breakfast, lunch and heavy helpings of the same at dinner, we do not need to be shocked. We ARE in a state of shock, so much so that we've already almost lost all faculties and facilities for greatness and meaningful action and would rather wait for better times (even the Left says they had to earn a living hence they're not seen on the streets as often as before). Sure, call me manhid, but I believe in the innate goodness of men which is a great alternative to the ineffectiveness of evil forces. It's either we have to believe that we are capable of good, or we have to do actual good to overcome our predicaments, however sad and hopeless. The reason why God Only Knows won't be effective is because it is neither a condemnation nor an indictment of poverty and paedophilia. It doesn't explore the topic and it doesn't offer any alternatives. It just hints at it, and then moves on leaving the audience severly wanting a closure. The story left it all to God which is why only He knows what Director Reyes really had in mind.
ANGAN-ANGAN (DREAMS) by Sheron R. Dayoc (Trails of Water) centers on a mute nine-year-old girl named Satra, whose determination to secure a good education reverberates clearly amid the strictness of her Yakan culture. The Yakan are one of the 13 Moro groups in the Philippines. They mainly reside in Basilan, Mindanao. The technicals went haywire on this one and we saw it twice without an audio. A jury member got incensced and called up someone to fix it. While this was all happening, the Caucasian jury member sitting comfortably on the couch in front of me was already asleep (is this what one calls a "detached" view of things? Only God knows). Anyway, after a few minutes, we finally got to view Angan-Angan with full sound. I imagine Angan-Angan to have been made with funding agencies in mind (or perhaps supported by one) because if I were to see it in that light, I can say that it has achieved its mission. Otherwise, it has zero commercial value given the non-familiarity of the territory and the subject matter to most audiences in Manila. The film also assumes that you are familiar with the Yakans, the current situation in their territories, and about the Bangsamoro Movement so if you've been living under a rock, this film can be be your eyeopener. Or maybe not. As an aside, there's been a recent breakthough in the negotiations in Malaysia.
Hailing from Mindanao myself, I wish to have this work seen more in its home island where poverty and strife continue to divide its peoples. I hope it brings understanding and appreciation of how education can be instrumental in ending the root cause of all clashes in the Promised Land. Director Sheron (who also attended the Ateneo in Zamboanga like I did; think Mayor Climaco assasination) brings to fore the spirit of magis in his work. Kudos to the director for first, choosing a girl as the main subject and second, for ending the film on a positive note. Angan-Angan truly reflects the unique realities of public education in the Philippines where the girls outnumber boys (and they stay far longer in schools, too).
ANDONG by Rommel "Milo" Tolentino is a story about a six-year old boy's obsession, family dynamics, and the real value of a hard-fought twenty pesos. If there's anyone who's really got his ears close to the ground, it's Rommel Tolentino (he even got us fooled with the trailer!). Andong packs a whallop in the heart department, the only film where the audience - already sleepy from the first four offerings - finally came to life and rewarded Andong with a well-deserved round of applause (at this point, the Caucasian juror slowly came to his senses). The quirky and playful editing worked wonders for this film and the low-grade camera feel didn't even get in the way. Why, the story was very simple but the narrative was tight, witty and the children actors were very charming and natural! It was like being there yourself. Truly, a fitting ending during Typhoon Helen's last evening in Manila. Congratulations, Director Milo, for this endearing and memorable work.
While killing 2 hours of my time, I found myself in an unbelievably half-empty CCP Shop. What happened? Somebody should stock the gift shop, quick! It's a national embarrassment! If you need someone to search high and low for Philippine souvenirs, you know who to call. *wink, wink* Sigh. I am so shameless. At any rate, got the two volumes of The Essential Brocka released by Unitel. They include the films Insiang, Tatlo Dalawa Isa, Ang Tatay kong Nanay, and Tinimbang Ka Ngunit Kulang. If you buy all four, it will only cost Php 325/DVD. Individually bought, each will cost Php 450. Carrot on a stick, and I willingly bit into the offer. In fact I already saw Ang Tatay kong Nanay this dawn immediately when I got home, and I enjoyed it immensely. The social conditions have not changed at all, have they?
Now, on with the shows.
First things first. I honestly think the shorts look so much better this year. In fact, they seem to be improving in terms of technicals as the festival progresses, which I think is good. The digital age offers so much variety of technology that it would be a sin for a director not to fully tap this exciting medium. The shots are better, there's a delicious patina to every work, and the editing is more inspired. The stories (the heart of the matter), however, remain stuck to what I have dubbed as the 3 Ks of local indie cinema: Kahirapan, Kamunduhan, and Kabaklaan. How truly exciting.
ANG IBANG MGA PAMILYA (OTHER FAMILIES) by Joel P. Ruiz (Baby Angelo, Mansyon) is about a woman who overcomes the grief of losing her adopted son. Come to think of it, she never really overcame the loss. She was in perpetual grief. Ang Ibang Mga Pamilya had a very promising start. You know it's bound to be special, but it eventually gave way to cliches until it eventually fell apart (talk about unfulfilled promises). The tepid, slow progress of this film makes for a lousy opener and I think the story is nothing special and the narrative is beyond redemption. Great photography and editing though. The film is bathed throughout in a warm, comforting light which gives it the somber mood it's supposed to have. However, quoting A Chorus Line, "And I dug right down to the bottom of my soul / and cried / 'cause I felt... nothing."
DIAMANTE SA LANGIT (DIAMOND IN THE SKY) by Vic Acedillo, Jr. (Screenplay, Batad: Sa Paang Palay) is about two brothers' journey to compete in a kite flying contest. But getting there takes some time. In the end, they face something unexpected and discover something more precious than winning. Like the first short, this work had so much promise in the beginning, but it is rather predictable. You actually already know what's going to happen next. The Director's unique problem was how to attack that predictability and come up with an intelligent or, at the very least, a heartwarming ending. Diamante is another case of the writer-director now knowing when to stop while he's on top of the game. He gave in to a happy ending when he could have stopped shooting when the two boys arrived at the kite festival and realized their plastic-bag kite was no match to the other's. Long shot, fade, music. Hindi naman po ipinagbabawal ang sad endings, di ba? But he didn't because that would be fulfilling audience expectations (because we know that's how it'd turn out at the onset). In the end, it became a meandering video of two boys giving themselves a pat on the back for making it this far. And that last line about their kite being still the best one? We didn't have to hear it, really. We already know.
Nice closing shots of the Pampanga plains though with the unmistakable Mount Arayat in the background. Made me miss my childhood days except that I didn't like flying kites. I threw stones at houses instead (mamuga cung batu kareng bale bale!).
GOD ONLY KNOWS by Mark V. Reyes (Last Full Show; Best Short, 2004 Turin) focuses on the disturbing and gut wrenching tale about the realities of life in the sprawling metropolis of Manila. If this was made by a writer-director who did not grow up here in Manila then I will have to muster up the courage to forgive him (but this is not so, in fact). This film displays complete ignorance of Philippine culture (I wish to discuss a little sociology, but I'm not in the mood to educate. The director happened to be in the room when this was being viewed). Sure, paedophilia is a reality in the Philippines; sure, we have our Payatas dump (and we show it ever so proudly in our films like an old, ragged medal) but surely the writer could care to see beyond all these and find other aspects of the problem to discuss? I can tell he's after the shock value (I felt like laughing), but in this country where we eat scandals and contoversies for breakfast, lunch and heavy helpings of the same at dinner, we do not need to be shocked. We ARE in a state of shock, so much so that we've already almost lost all faculties and facilities for greatness and meaningful action and would rather wait for better times (even the Left says they had to earn a living hence they're not seen on the streets as often as before). Sure, call me manhid, but I believe in the innate goodness of men which is a great alternative to the ineffectiveness of evil forces. It's either we have to believe that we are capable of good, or we have to do actual good to overcome our predicaments, however sad and hopeless. The reason why God Only Knows won't be effective is because it is neither a condemnation nor an indictment of poverty and paedophilia. It doesn't explore the topic and it doesn't offer any alternatives. It just hints at it, and then moves on leaving the audience severly wanting a closure. The story left it all to God which is why only He knows what Director Reyes really had in mind.
ANGAN-ANGAN (DREAMS) by Sheron R. Dayoc (Trails of Water) centers on a mute nine-year-old girl named Satra, whose determination to secure a good education reverberates clearly amid the strictness of her Yakan culture. The Yakan are one of the 13 Moro groups in the Philippines. They mainly reside in Basilan, Mindanao. The technicals went haywire on this one and we saw it twice without an audio. A jury member got incensced and called up someone to fix it. While this was all happening, the Caucasian jury member sitting comfortably on the couch in front of me was already asleep (is this what one calls a "detached" view of things? Only God knows). Anyway, after a few minutes, we finally got to view Angan-Angan with full sound. I imagine Angan-Angan to have been made with funding agencies in mind (or perhaps supported by one) because if I were to see it in that light, I can say that it has achieved its mission. Otherwise, it has zero commercial value given the non-familiarity of the territory and the subject matter to most audiences in Manila. The film also assumes that you are familiar with the Yakans, the current situation in their territories, and about the Bangsamoro Movement so if you've been living under a rock, this film can be be your eyeopener. Or maybe not. As an aside, there's been a recent breakthough in the negotiations in Malaysia.
Hailing from Mindanao myself, I wish to have this work seen more in its home island where poverty and strife continue to divide its peoples. I hope it brings understanding and appreciation of how education can be instrumental in ending the root cause of all clashes in the Promised Land. Director Sheron (who also attended the Ateneo in Zamboanga like I did; think Mayor Climaco assasination) brings to fore the spirit of magis in his work. Kudos to the director for first, choosing a girl as the main subject and second, for ending the film on a positive note. Angan-Angan truly reflects the unique realities of public education in the Philippines where the girls outnumber boys (and they stay far longer in schools, too).
ANDONG by Rommel "Milo" Tolentino is a story about a six-year old boy's obsession, family dynamics, and the real value of a hard-fought twenty pesos. If there's anyone who's really got his ears close to the ground, it's Rommel Tolentino (he even got us fooled with the trailer!). Andong packs a whallop in the heart department, the only film where the audience - already sleepy from the first four offerings - finally came to life and rewarded Andong with a well-deserved round of applause (at this point, the Caucasian juror slowly came to his senses). The quirky and playful editing worked wonders for this film and the low-grade camera feel didn't even get in the way. Why, the story was very simple but the narrative was tight, witty and the children actors were very charming and natural! It was like being there yourself. Truly, a fitting ending during Typhoon Helen's last evening in Manila. Congratulations, Director Milo, for this endearing and memorable work.
(Milo said...
Hey man, Thank you for all the kind words on ANDONG, I sincerely appreciate it. Salamat.)
Proof that directors do read reviews, haha!
-----------------------------------
Tonight, July 17, I will be watching 100 by Chris Martinez (9pm). See you there! Yipeeee!
Monday, July 14, 2008
LOFI, ISSUE 3
I'd join Lomomanila if only to get a regular copy of their magazine. I almost died at the brilliant layout work! (and of course the photographs. Duh.) On the cover is Apple Chee Kee. Geez, the name! The name! Aaarrgh!
Special thanks to Ruby, Editor in Chief.
Sunday, July 13, 2008
IT'S A FINE, FINE LIFE!
Yes, I'm quoting from the musical Oliver! on this rainiest of days. What started as an innocent rain has turned into a downpour after lunch (Typhoon Helen has arrived), so I went out and took photos of the problem areas of the farm for future reference (yes, it's called "work").
Don't you just love this photo? So enchanting (except for flooding on the Farm's newest road network).
There's a fast stream of water flowing down the pathway leading to the pavilion. Ang saya!
The strong rains and wind has soaked some of the baby cribs which I'd be using for the upcoming wedding congress during the latter part of the month.
Awwww.... Dapat talaga may ganitong shot? Feeling Guernica.
Flooding also on this part of the gazebo. The water goes down to the swamp via the pavilion pathways.
Water from the upper plaza goes down the pathway and empties into this sewer.
Water pools near the pond infront of the house.
The pond itself will begin to overflow if the rains doesn't stop any time soon.
A busted pipe confronted me this morning as I got to work. The water supply has since been restored, thanks to the caretaker, but the repairs left gaping holes in this plot.
Must. Repair. This. The. Soonest. Possible. Time. Before. Visitors. See. It. Dyahe.
Meanwhile, as all hell breaks loose, the Farm cat preens himself on the Depression-period couch in the foyer. Now THAT's a fine, fine life!
Music currently playing: Only Wanna Be With You (Dusty Springfield)
Friday, July 11, 2008
VOLTA ISN'T AI-AI
Saw Björk's rendition of Declare Independence on a Later with Jools Holland DVD (courtesy of JC, thank you very much!). I know it doesn't sound like music (or anything close), but I did download it anyway and have listened to it for more than 10X now. I actually like it, hehe! It's the only third time I've seen her perform on video (the 1st was in the film Dancer in the Dark which I saw during an edition of the Cinemanila; the second was during the opening show of the 2004 Olympics in Athens, and lastly in above-mentioned DVD). I admit (rather hesitantly) that I listened to Oceania over and over while I was still in my old office. Crazy, ano?
BELLY UP
For the first time I am doing the market work with the cook. I am glad. At least she's always there to answer my questions re fridge and cupboard inventory, etc. This is such a domesticated life, 'no? Parang may mali, eh. I feel kinda weird.
Anyway, I had my way with the fishmonger last Sunday. I had bangus bellies in mind for lunch and to be honest I haven't the slightest idea how it is done. Anyway, when I finally saw the fish, my Don Bosco drafting skills (or whatever's left of it) came to work and I took over in instructing the guy who will be slicing my fish orders. I was a bit taken aback that he initially wanted to carve out the black fat. I mean, seriously?! Isn't that the end all and be all of bangus belly - meat and fat?! Besides, fish fat is healthy (although I want to believe milkfish is that kind of fish which has the right kind of fish oil).
Took a photo of the final product - Bangus Belly in Tausi Beans Sauce. Sliced evenly, deboned, fried crispy on the outside yet soft and tender in the inside. I lurved it!
ANOTHER LONG DAY
Sorry. I had nothing better to do today. Two PCs were being repaired simultaneously so we were stuck to working via phones. I also just updated my Photoshop with the latest version, CS3. Does this mean life is better?
Thursday, July 10, 2008
Tuesday, July 08, 2008
MOVIES I'VE SEEN LATELY
If you think I have a lot of time in my hands, you're correct. I do have a film trove to last me a lifetime and if I should ever be charged for conspicuous consumption (which is now a crime given these times of expensive food, among other things), at least I spent on things that cultivate the mind and spirit (Bah, humbug!).
I don't know though if the same can be said of Jodorowsky's Fando y Lis (re cultivating the mind and spirit). I am all for surrealism and I lean towards the works of Max Ernst, Joan Miro and Salvador Dali, but as the latter once said, "There is only one difference between a madman and me. I am not mad" and Jodorowski is a madman (when Fando y Lis was shown in 1968 in Acapulco, a riot was said to have broken out with the director fleeing the theatre for his dear life). The story follows Fando (Sergio Klainer) and his paraplegic girlfriend Lis (Diana Mariscal). It is a modern fable about two young people searching through a destroyed world for a mythic city called Tar where all their wishes will be fulfilled. Instead, they are corrupted and driven mad. I thank the heavens for giving me the patience of a camel to have seen this film through.
I don't know though if the same can be said of Jodorowsky's Fando y Lis (re cultivating the mind and spirit). I am all for surrealism and I lean towards the works of Max Ernst, Joan Miro and Salvador Dali, but as the latter once said, "There is only one difference between a madman and me. I am not mad" and Jodorowski is a madman (when Fando y Lis was shown in 1968 in Acapulco, a riot was said to have broken out with the director fleeing the theatre for his dear life). The story follows Fando (Sergio Klainer) and his paraplegic girlfriend Lis (Diana Mariscal). It is a modern fable about two young people searching through a destroyed world for a mythic city called Tar where all their wishes will be fulfilled. Instead, they are corrupted and driven mad. I thank the heavens for giving me the patience of a camel to have seen this film through.
I am currently watching this 2-disk DVD. El espíritu de la colmena (r. 1973) is considered a masterpiece of Spanish cinema and was shot during the dying days of Franco's dictatorship. The film is bathed throughout in beautiful soft yellow light, but this adds to its gloom rather than raise its spirit (the cinematographer was said to be going blind during the filming). So far so good.
I so enjoyed this one! Super thanks to JC for letting me watch Across the Universe, a work by Julie Taymor (Titus, Frida). Rogert Ebert, in giving it four stars, called it "an audacious marriage of cutting-edge visual techniques, heart-warming performances, 1960s history and the Beatles songbook" and calling Julie Taymor an "inventive choreographer". With 33 Beatles songs woven into this rather avante-garde but touching story of life, love and living, it is hoped to bridge the generation gap across the universe.
There is something terribly wrong about Wanted. I almost died at the sight of James McAvoy's totally bad acting (especially during the car chase). Please, God. Don't turn him into another Colin Farrell. This man has so much promise in him!
I totally enjoyed Infamous. I recall the scene where Capote made a phonecall to the DA's office and the operator said, "Sorry, the DA does not entertain calls from strange women." Capote retorts in his characteristic brussel sprout voice, "Who says i'm strange?" Hahahaha! Priceless!
Again, if you have the patience of a camel, you will survive this film. Terribly quiet (akin to a long, long, long Sunday walk), it features a young - and very beautiful - Vanessa Redgrave and several other women in full frontal act, a first in British cinema. Anyway, it tells the story of a photographer, played by David Hemmings, who loves to take random photos. He came across two lovers in a park (the woman is Redgrave) and takes photos of them. Redgrave pursues him, eventually finding his apartment and desperately trying to get the film. This leads the photographer to investigate the film, making blowups of the photos (hence the title) until he realizes that he was a witness to a murder. He went back to the park and found the body, but this time he didn't bring his camera with him. Tough luck.
When I thought Delicatessen looks a little bit like Amelie in style, it's because they share the same brilliant directors, Jean-Pierre Jeunet and Marc Caro. "It begins in a dilapidated apartment building in rural post-apocalyptic 1950s France. Food is in short supply, with grain used as currency and animal populations dwindling, having been hunted to extinction. At the foot of the apartment building is a butcher shop, run by the landlord, Clapet (Jean-Claude Dreyfus), who posts job opportunities in the "Hard Times" paper as means to lure victims to the building, whom he murders and butchers as a cheap source of meat that he sells to his tenants. Following the departure of the last worker, unemployed circus clown Louison (Dominique Pinon) arrives to apply for the vacant position. During his routine maintenance, he gradually befriends Julie Clapet (Marie-Laure Dougnac), which slowly blossoms into a romantic relationship. Aware of her father's motives and Louison's imminent death, Julie descends into the sewers to make contact with the feared Troglodytes, a vegetarian sub-group of French rebels, whom she convinces to help rescue Louison. Following their botched abduction of another tenant, the Troglodytes return as Clapet, with the remaining, cannibalistic tenants of the building, storm Louison's room in an attempt to murder him. Louison, now aided by Julie, resists and injures many of the bloodthirsty tenants by flooding his apartment. He is able to narrowly avoid death as Clapet inadvertently kills himself with Louison's weapon. The film ends with Louison and Julie enjoying each other's company on the roof of the now peaceful apartment building." (Source: Wicki) A must-see black comedy of porcine proportions.
"Set in August 1944 during the V-1 Doodlebug offensive on London, a murder takes place in Heron's Park Emergency Hospital, a rural British hospital somewhere in the South-east of England. Inspector Cockrill is asked to investigate when the head nurse is killed after revealing that the death of a patient under anesthesia was not an accident. Cockrill states at one point "My presence lay over the hospital like a pall - I found it all tremendously enjoyable." After another murder attempt leaves a nurse dangerously ill, he re-stages the operation in order to unmask the murderer." (Source: Wicki) Based on a popular 1944 detective novel by Christianna Brand. If you've seen COMA, the story is similar although the two sets of crimes have their own ends. Very witty lines. I imagine it took so much effort to make the repartee among the characters appear natural (because it doesn't). Writer-director Sidney Gilliat, together with his partner, also wrote the screenplay of Alfred Hitchcock's The Lady Vanishes.
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