Submitted for your approval, another contribution to the always popular demand for "lists." My apologies for the mis-title if you have seen some or all of these films. At any rate, they are all worth checking out (or checking out again). Enjoy!
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Hugo (2011, directed by Martin Scorsese)- Hugo is a clear departure from Scorsese's violent, graphic classics. It's also likely to be his most personal, heartfelt film and a true testament to the magic of movies. Scorsese ingeniously utilizes 3D, the latest technological muse in the film world, to remind us (or probably educate most viewers) of the very origins of cinema - the early films of George Melies & the Lumiere Brothers. Parts of the film are largely devoid of dialogue and let the images do the talking, as did the early silent films. Hugo truly is a magical experience that will delight movie lovers of any age.
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Submarine (2011, directed by Richard Ayoade)- Submarine is as much of a movie as it is a personality. The film is well-written and directed by new talent Richard Ayoade, showcasing a variety of camera and editing tricks. It often resembles a French New Wave film. Oliver Tate's (the protagonist) voice-over narration is eloquent ("I mustn't let principles stand in the way of progress"), but his actions/speech feel much less scripted when faced with the real-life pressure of confronting his teenage crush. He feels very put together and insightful internally, but is more awkward externally. Submarine has enough visual flair and ideas to back it up to satisfy any independent film lover.
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Shame (2011, directed by Steve McQueen)- Shame isn't about sex. It's about addiction. Brandon, the film's main character, has an addiction. Brandon doesn't enjoy his vice so much as he is totally dependent on it. Like Travis Bickle in Taxi Driver, he's incapable of normal human interaction and is consumed by his addiction. It's a brilliant, intense film filled with long takes; some make us feel "trapped" as Brandon does; others linger, like a moment frozen in time, and allow us to sit in on a scene and watch it transform (i.e. the "date" Brandon goes on where the camera slowly zooms in w/o cutting the camera). Much of the film takes place on the subway. Brandon's interactions with a certain woman were particularly interesting; we approach those scenes from Brandon's point of view and are likewise surprised at the (avoiding spoilers...) realization he has. The interactions also allows us to see the arc of Brandon's character from 1st to 3rd act. I took the subway to be a metaphor for the way Brandon lives his life - quickly moving from one place to the next, temporarily fixating on someone & getting what he wants, then moving on. No real connection. No real emotion. No mention of love. He lives a tormented existence it seems. This way of life ultimately comes with consequences as we learn in the film's third act. Sex is just a foothold here; drugs, greed, gambling, or alcoholism could easily be substituted and have a similar effect. Perhaps sex makes the most sense because of its relevance to human interaction. But this is not "a movie about sex." Shame is a meditation on crippling addiction. It's compelling.
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Before the Devil Knows You're Dead (2007, directed by Sidney Lumet)- The film could have been called "Anatomy of a Bank Robbery Gone Awry." But that's not as catchy. Before the Devil Knows You're Dead examines a "simple" plan that gets completely out of control. The actors are outstanding, each with their own unique level of deception or sin. Director Sidney Lumet shows us the outcome, then back tracks to see how each player got involved and what role he/she played. It's hard to pick any one of the characters to root for really... but you'll be interested to see what happens next nonetheless. It's a great film with no good guys.
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Trust (1991, directed by Hal Hartley)- Smart, uncommonly well-written, and clever, Trust offers a unique love story about two flawed characters who find love through each other's imperfection. Many of the cinematic strategies implemented in Trust seem unusual or outside the norm, much like Matthew and Maria (the film's central couple). Director Hal Hartley’s camerawork is atypical, dominated by two-shots during the conversations throughout the film as opposed to the common shot-reverse shot strategy; this allows the viewer to see both speaking characters simultaneously rather than forcing him/her to see only one at a time. The film is full of lesser-known actors as opposed to big-budget movie stars, giving the film the impression of “reality” or an intimacy that might be harder to achieve with well-known actors. Interestingly, the Matthew-Maria relationship does not seem sexual, though they do kiss and show affection. The key “equation” of the film, rather, is at play: respect + admiration + trust = love. Each one is there to protect the other from harm (to “break their fall”) because Maria and Matthew both recognize the challenges they are facing and will face. Trust is an honest love story that refrains from over-glamorizing or idealizing Matthew and Maria’s relationship.
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Brazil (1985, directed by Terry Gilliam)- Brazil transports the viewer into a world that's wildly imaginative and filled to the brim with stunning visuals. The film deftly blends dream-like fantasy & romance, dull office life with endless paperwork (literally), beautiful music, and a slew of quirky characters all wrapped up together in this one-of-a-kind sci-fi experience. Terry Gilliam is a master of making strange even the most mundane of encounters. Like Brazil's metaphorical meaning, the film itself takes the viewer away to a unique place that may only exist in fantasy. With quite a view memorable scenes, Brazil is worth visiting over & over.
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The Big Chill (1983, directed by Lawrence Kasdan)- The Big Chill is an ensemble film centering around a group of old friends who re-unite for a weekend after the death of one of their own. One of the key "characters" which adds personality to the film is its amazing soundtrack which features a slew of great, soulful classics. The film plays like a jukebox from track to track with sometimes poignant, sometimes funny conversations about the current state of all of the friends' lives in between. The characters all get equal attention, as their personalities click and clash. All the while the audience feels like they're spending the weekend with them, too. Rather than taking an overly somber approach to the subject matter, Kasdan has crafted an honest, personal film that goes down smooth.
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Harold & Maude (1971, directed by Hal Ashby)
- One of my favorites. A classic example of American dark comedy at its absolute best. The film has heart, wit, great performances, and a fantastic soundtrack. Clever from start to finish, from the opening credits we get insight into Harold's personality and later discover how perfect Maude is for him. Harold & Maude is a wonderful post-60's countercultural film that's easy to love and impossible to forget.
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Seconds (1966, directed by John Frankenheimer)
- This is a crazy movie. Seconds tells the story of an older man whose life has hit a standstill, but that all changes when he receives a mysterious call from an old friend whom he believed to be dead. The man discovers a group of scientists who are in the business of giving people a "second chance," transforming the man from his older body into a young man once again. Think of it as an extreme, science-fiction version of the witness protection program. The film is beautifully shot in black & white by the acclaimed cinematographer James Wong Howe. The camerawork is as haunting as the story itself. Starting from the brilliant opening credits, the audience knows this film is anything but ordinary. And the final act of the film leaves an indelible impression. Think of Seconds as a 107 minute long episode of The Twilight Zone. Yeah, it's good.
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Shoot the Piano Player (1960, directed by Francois Truffaut)
- Truffaut’s Shoot the Piano Player features breaks from the classical Hollywood modality. The very beginning of the film seems noir-esque, featuring an unknown male character (who turns out to be Charlie, the film’s protagonist) running through a dark street only lit by a few streetlights; the tone then abruptly shifts when he begins discussing marriage/relationships with another male character who will never appear again in the film. In this opening scene and again in the final shootout in the snowy cabins, Truffaut does not seem interested in preserving continuity; it seems impossible to follow who is shooting who in the finale, and it seems like Truffaut focused more so on the “feel” of the sequence than its strict continuity. Like Michel inverts the classical Hollywood protagonist of film noir, the gangster kidnappers (Ernest and Momo) seem quite unthreatening, showing off their musical lighters, Australian wool suits, and flexible metal scarfs from Japan. Unlike the intimidating noir villains of Hollywood, these gangsters seem much more friendly and unimposing. Shoot the Piano Player is a brilliantly crafted, breezy ride through the French New Wave.
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