Showing posts with label The Wachowskis. Show all posts
Showing posts with label The Wachowskis. Show all posts

Wednesday, 26 August 2020

Plotting to have Christopher Nolan make a rom-com next...

Plotting to have Christopher Nolan make a rom-com next... But who plants the seed ?

More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)

26 August

Plotting to have Christopher Nolan make a rom-com next... But who plants the seed ?



Nolan heard it from Lilly first* : Chris, are you really writing a rom-com ?




Cypher : It means fasten your seat-belt, Dorothy, cos Kansas is going bye-bye !



End-notes :

* Or was it Lana... ?




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Monday, 18 February 2019

Two Tweets in initial astonishment at the vividity and richness of image and meaning in Orphée (1950)

Astonishment at the vividity and richness of image and meaning in Orphée (1950)

More views of - or before - Cambridge Film Festival 2018 (25 October to 1 November)
(Click here to go directly to the Festival web-site)

18 February
Astonishment at the vividity and richness of image and meaning in Orphée (1950)





Jacqueline Pearce RIP (Servalan)


Épilogue :





End-notes :

 * Seen at Saffron Screen (the community cinema on the premises of Saffron Walden County High School, Saffron Walden, Essex).


Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Tuesday, 9 January 2018

Three Tweets about Bound (1996) [by The Wachowskis]

Three Tweets about Bound (1996) [by The Wachowskis]

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)

9 January

Three Tweets about Bound (1996) [by The Wachowskis]








Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Tuesday, 7 March 2017

LGBTQ and the new world of F-Rated films (thanks to Holly Tarquini at Bath Film Festival) - a good fit ? (work in progress)

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)

8 March

LGBTQ and the world of F-Rated films : Read more below, and your comments are welcome – is it a good match for those who do not identify with polarity of gender, or see themselves as necessarily having a gender, etc., etc. ? (work in progress)





As a result of the efforts of Holly Tarquini at Bath Film Festival (@BathFilm), a rating for films, F Rated, has not only been used at the Festival, and elsewhere, for a while (@F__Rating, but is now being adopted by IMDb.




IMDb, short for the International Movie Data-base (@IMDb), is both, as in the Bath area, amongst the Festival’s neighbours and one of its collaborators (and owned by Amazon, hence all those promotional banners / links to buy on Amazon…)




However, confusion already exists, by virtue of people assuming – or being told, and not checking – that ‘F’ denotes ‘feminist’. Although the criteria for F-Rating clearly do not say this, and a film can be F-Rated simply by virtue of the fact that a woman directed or wrote it (or both), does whether an F-Rated film is then wrongly taken to be an endorsement of it or its values and ethos need due consideration - not least when IMDb / Amazon start F-Rating films in earnest ?



And, then, does the stipulation of a female director start posing questions, when it was Andy and Larry Wachowski (now, respectively, Lilly and Lana) who made The Matrix (1999), etc. [the IMDb biography for Lana Wachowski, compared with that for Lilly, has greatly submerged the birth-name] ? :








 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Monday, 9 February 2015

Un séjour avec soju ?

This is a review of A Girl at my Door (Dohee-ya) (2014)

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

9 February

This is a review of A Girl at my Door (Dohee-ya) (2014), watched at a special screening at The Arts Picturehouse, Cambridge (@CamPicturehouse), on Thursday 5 February 2015


Introductory - other important Doona Bae roles :


As the Tweet (inevitably pithily) tries to say, there are some significant roles for Doona Bae (or, at any rate, those whose existence is easily known in the West) that appear to be linked (whether that reflects the nature of roles offered to, as well as accepted by, Doona Bae).

When Nozomi, the doll that Hideo (Itsuji Atao) buys in Air Doll (2009), comes to life (as played by Doona Bae), the doll itself / herself is a substitute for a failed affair, and Nozomi is rarely quite one with the world into which she emerges (and from which she ultimately departs) except to the extent that she makes a life for herself and finds others who understand her and her experience.

The idea of a doll come to life is, at heart, just as much a metaphor* – it is up to the viewer with what the metaphorical connection itself is being made – as it is in the case of the so-called fabricants in Cloud Atlas (2012), with Sonmi-451** proving the tenets of AI, in that these created life-forms do become wholly sentient, although only intended to be unemotional, robotic drones.

That said, setting apart The Animatrix (2003) (and its engaging depiction of The Rise of The Machines, desiring equality with mankind – as foreshadowed by Samuel Butler in Erewhon), it is one that the Wachowskis, elsewhere, largely wish to resist in the Matrix world (starting with The Matrix (1999)). For Neo appears to assert a primacy of humanness / humanity – although, in the eyes of The Architect (and on some other scale), Neo may just as much be [reducible to] a piece of code as, in Jupiter Ascending (2015), Jupiter Jones is considered to be genetically identical to the mother of Lord Titus.

However, in this film, Doona Bae (Inspector Young-Nam Lee) is not playing a doll who lived, or a replicant who discovered feelings (including sexual arousal), and became a rallying cry for generations to come, but is a woman, taking care of the girl of the title(not least in the original title, where she is named). Albeit at Lee’s door is not where we first see her, for she is being bullied, and there are some tensions built into that premise…***

In any case, the girl (Dohee) is a mirror to Lee, and she is played with such great plasticity by Kim Sae Ron that one could not believe that one or two other girls had not been sharing the part – an effect not accounted for just by make-up and hair. Lee’s identification with Dohee, and her concomitant compassion and malleability / indulgence, is obvious from the start, though not the depths of – or the reasons for – it.


Whereon hangs the film, were it not that :

* Whether or not one’s constraints are budgetary ones (according to Wikipedia®, the film’s budget was just US $300,000), what the film presents as a small coastal settlement is even more obviously unpopulated than it would be compared, say, to shooting in Seoul – at least, what we see must be a small quarter of Yeosu (which research suggests is actually a city, not a town)

* Even if the script wants to explain that situation away, by saying that Koreans no longer want to live / work there, and that only the person keeping the workers there are in hand is local : in that case, what need a police station, with not a few officers, at which Lee is the ‘station chief’, if the only significant activity is aquatic in nature ?****

* In fact, the cast is so thin on the ground that, apart from the denizens of a hair salon cum village hub, and the group of people who are momentarily present when Lee moves into supposedly temporary accommodation, we have already met everyone else. (Although Lee apologizes to her landlady for the inconvenience of her unexpected arrival, conveniently there is no sign that she is ever going to be housed anywhere else.)

* The world of this film, then, revolves unconvincingly around only the workers, Dohee’s father (who is in charge of the workers, and is the somewhat erratically written and drawn father of Dohee*****), Lee’s fellow officers, and a cashier of a supermarket in an unspecified location (but, in the locality, a police officer does not even recognize Lee whilst she is busy with her bottles of water).




Doona Bae and Kim Sae Ron are both excellent in their roles. Sadly, theirs are the only ones with any substance, for not only is Dohee’s father a cipher (of parental drunkenness), but so is her grandmother – who seems strangely reminiscent of [a more aggressive version of] the one who is initially unsympathetic in Kim Mordaunt’s The Rocket(2013) (which is set in Laos)…

NB Possible spoilers in this paragraph
As to Doona Bae’s character, it depends intimately, and even intensely, on that played by Kim Sae Ron, to the extent that it is questionable whether they are, apart from on the level of the attribution of dialogue, actually separable. That notion, if one were seriously encouraged to entertain it from the start to finish in the film, could have been its saving from its immersion in banality, as well as the need to believe that, although Lee is a police inspector, she is not only very naive in her personal dealings, but also lacking in being even plausibly streetwise.

By choice of film to appear in, Doona Bae seems in danger of not usefully claiming for herself the territory of the saintly fool, too good for this world, but forced to be in and of it [as in The Idiot (Idioot) (2011)] : it may suit her aesthetic to take such roles, but they do not ultimately flatter or, more importantly, use her talents. Yes, of course it is a delight to see her infectious smile break through, after sombre scenes where she is forced to be the celebrated guest at some grim event for her induction, but showing wearing ‘a mask’ can only be done so many times (even to the extent that spring water is turned into some sort of saké – or vice versa), however well Doona Bae carries it off, before it become stale.


This film, almost inevitably, reminded of Humbert Humbert (James mason) in Lolita (1962) and of the eye of the beholder, but also of many another scenario where one properly suspects that manipulation (masked by apparent innocence) is at work. For, no doubt for reasons relating to her own past, Lee trusts Dohee (for example, there is an un-ironic scene with tears, harp in the score, and Lee’s tender reaction), rather as Sean Connery does Tippi Hedren in Marnie (1964). However, viewers of, say, Catalan cinema may be reminded more by Dohee of Nico (David Solans) in Son of Cain (Fill de Caín) (2013), and doubt the wisdom of Lee’s faith (however much, as heavily implied, Dohee may be the imprint of a young Lee).

The reason being that this is one of those films that opens with a car, clearly being driven a distance, with what we know – from looking towards the front of the car and through the windscreen – is literal baggage in the back. And that, perhaps, is the downfall of any sense of (surprise at) the unfolding of the story, on which it seems to have depended, whereas it all seems – without suggesting dramatic irony – so patent, right from seeing the arrival in a place with a small-town mentality. In Peter Gabriel’s words (from ‘Big Time’, on his album So) :

The place where I come from is a small town
They think so small, they use small words
But not me, I'm smarter than that,
I worked it out


End-notes

* This has been a topos since, at least, Adam was fashioned from clay (Genesis 2:7), proceeding through the Greek mythology of Talos and of Hesiod’s Pandora, the Metamorphoses of Ovid, and Pygmalion’s statue there, Paulina’s in The Winter’s Tale, Bernard Shaw’s reimagining of Ovid in Pygmalion (and its own reimagining in My Fair Lady (1964)), etc., etc.

** Doona Bae is also credited, by IMDb (@IMDb), as playing Sonmi-351 :




*** The (apparent) failure to envisage any consequences of the isolated example of intimidation by peers is one that the plot seeks to gloss over by, much later, having Lee stated to be such a feared force (this fear seems little evident at the), and by locating the main time-period of the film outside term, so that nothing comes of it.

Maybe, but it did seem, at one point, as though the serious incident that we witness, where Lee’s mere show of authority is not taken seriously until it becomes referable to their middle school (and whether she follows it up seems doubtful – the plot just seems to have her forget about the issue) : Lee does not, at any rate (which seems to indicate a late shoe-in) raise the question with Dohee until it is unconscionably late, if something had been continuing…

**** It is hardly to be referred to on account of being a better film, but My Sweet Pepper Land (2013) at least avoids one feeling that Baran (Korkmaz Arslan), its police officer, is on anything other than a perilous, corrupt frontier (happily joined there by Govend (Golshifteh Farahani)). The world of A Girl is actually such a world, but with an implausible veneer of law enforcement, and of seeming to be a home to generally law-abiding folk…

***** Regrettably, both note-taking and IMDb let one down on crediting the actor and his role ! However, we are saved NB Link is to a summary of the plot by Wikipedia®, which tells us that he is Park Yong-ha (played by Song Sae-byeok).



Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Thursday, 5 February 2015

Elixirs of youth, utilitarianism, and Sonmi-451

This is a partly completed review of Jupiter Ascending (2015)

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

This is a partly completed review – it will certainly spill over into another posting – of Jupiter Ascending (2015)




5 February

Someone (whose Tweet cannot now be located) was replying to an invitation from BBC’s Film 2015 (@BBCFilm2015) for comment, and described Jupiter Ascending (2015) as ‘baffling’ and / or ‘confusing’ (in such a way that made clear that this / these description(s) was / were not commendations) :

Well, if one watches a film such as Father and Son (2003), and expects it all to be explained and tied up by the end, then that ‘just ain’t life’, so Screen 3 at The Arts Picturehouse (@CamPicturehouse) this afternoon at 4.30 would have been the wrong place to be (if one thinks that this film (or, say, Caché (Hidden) (2005)) should not baffle or confuse, even though life can and does)…

Before Jupiter Ascending (#JupiterAscending), Cloud Atlas (2012) was a long, hard look at repeating patterns, and the related potential for our kindnesses and cruelties to reverberate beyond our own time. (Although that is also, in The Matrix Revolutions (2003), the explicit message at the end of the trilogy – even if some resent even the existence of the two companion films to The Matrix (1999).)

Almost necessarily, Jupiter Ascending (2015) does not seek to cover that ground again, but trust, deceit and betrayal, and the nature of reality, have been integral parts of The Wachowskis’ screen-worlds since The Matrix, and they are here, too. We may tend to call what used to be ‘personnel’ by the name HR. If so, we overlook what these film-makers keep returning to, the behaviour (and morals) of those who see their fellow human-beings as ‘resources’ (thus, the earlier film has Jim Broadbent (as Timothy Cavendish) exploited by his family, and David Gyasi (Autua, a free man in slavery))…

Yes, The Wachowskis have 'delivered an action film', but what and where is the action, and what levels of reality (mirrored by different grading of CGI versus live action) are we meant to perceive ? :



That said, the amount of undiluted action is far greater, and it as though the proportion of threat, pursuit, and rescue in the time-period of Sonmi-451 (Doona Bae) and Chang (Jim Sturgess) had expanded proportionally to fill out the rest of Cloud Atlas. One will have to come to the action (and the nature of what action depicts / denotes on a cinema screen) at a later date, but it is not as if Lana and Andy Wachowski, always wearing their cine-literacy easily, have deprived those less keen on it of plenty of other insights.

Some key references (not exclusively to this one film of theirs) are :

* Metropolis (1927)

* Carry on Cleo (1964)

* Brazil (1985)*

* Akira (1988)

* Looper (2012) (mixed with that scene from North by Northwest (1959))

* Platonic Ideals / ‘The Theory of Forms’ / οὐσία (or ‘ousia’)

* Harry Potter and the Philosopher’s Stone (2001) / The Makropulos Case (Leoš Janáček (based on Karel Čapek’s play)) / Bernard Williams’ essay of that name**

* Free will v. determinism / the craze for 'genetic screening'

* Etc., etc. – and one should not doubt, when The Matrix (1999) alluded to Lewis Carroll and The Wizard of Oz (1939), amongst others – that these references are any more than coincidental !


So what, also, about these possibilities (arising from that Film 2015 questioning / Tweeting) ? :






As to the film more than twenty-four hours later, it is still a fertile ground for reflection, because its makers’ knowingness should never be taken for granted.






Then again, one does not please everyone... :





More to come, but, for those who like spoilers, here are some Tweets in the meantime…








End-notes

* With even a little cameo from its own Terry Gilliam, an influence to which The Double (2013) also nods*, with what it has become fashionable to call its steam-punk feel. [Also in Paddington (2014), though perhaps distilled through Gringotts Bank in the Harry Potter films (numbers 1 and 7 ?).]

** Williams, Provost of King's College, Cambridge, was also rather fond of opera...




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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