RAN - Shakespearean Samurai

Ran (1985)

is an apt title for this film as it is synonymous to Japanese films to frequently run; into battle or for a messenger, or merely between conversing, fretting Shogun Warlords. In fact, Ran means "rebellion", "uprising" or "revolt", or to mean "disturbed" or "confused" in Japanese. All these translations can be used to describe an aspect of this amazing film.

Based on the tragedy of King Lear, yet fused with Historical events featuring real Emperors, who similarly, divided and conquered their land, Ran is a film drenched in rich complexities. What comes across most strongly is the melodramatic way in which this doomed story is conveyed. Kurosawa (Seven Samurai) really elaborates on the mythical elements of the combined history and fiction. However, more depth is added as Shakespeare's King Lear is based on a mythological pre-Roman Celtic king. It is interesting that these events have many similarities to other found across the globe in a completely different culture. So much so that the tradegy of greed, and desire to protect successes through one's family, seems inherent in human nature.


Next, Kurosawa retains the influences of theatre. The Globe is typically Elizabethan, yet the style of 'mystical intensity' thus described by Munakata Ueda (a pioneer in Noh Shakespeare), lends itself well to the poetic, dramatics of Noh Theatre. The circular globe is replaced with the square, wooden beams of a traditional Japanese shelter. Furthermore, the rich yet slow atmosphere is interspered with satirised sections and comical characters similar to the jesters or comedians that feature in Shakespearean tales.

Briefly, King Lear, or Hidetora has three 'loyal?' sons; Jiro, Saburo and Taro; for whom he divides the Kingdom. However, lust for power, manipulation from wives ensue, and battles and complications take place. Here is a link to a more detailed story

The film is a masterpiece. Kurosawa's attention to detail is exquisite and sustain's the reader's fixation for the running time of three hours. The atmosphere is your living room/cinema stills. Every melodramatic exclamation made by King Hidetora; every stab of a sword, or charge of uniformed soldiers, who move in unison like a menacing, black wave, is amplified. There is not one fixed colour palete. Kurosawa's atmosphere alters in each setting. The costumes and props revolve around the primary colours as each colour is allocated to one of the sons. I assume this is where inspiration for Power Rangers stems from. However, there is the contrasting hues that are prevalent in nature, and therefore are dependant on terrain- the barren and bleak greys of the wasteland reflect the misery and confusion of Hidetora in his inevitable (tragic) downfall. Yet the pinks and fresh green colours of beauty and plants radiate from the fertile hills and purer, more innocent characeters. Skin is an interesting canvas on which to add to the art of the film. As Hidetora becomes more and more decrepit, his face dirties and hollows out as the features become ringed with black makeup.

The devious seductress Lady Kaede is one of the most conniving women in all of film history, nevertheless, her determination is quite inspiring. Her make up has inspired Princess Amidala from the Star Wars prequels. Plus, the costume designer Emi Wada uses very unique designs that are not as traditional, using possibly 60's print (at least, very modern patterns). Her stunning qualities enriches the presence she commands on screen as she wades in the heavy kimonos. I think it is her serenity, that, juxtaposed with her outburst of precise ferocity is what makes her so impressive. One wonders what schemes she must devise when she sits cross-legged and ceremonial.

The soundtrack is equally haunting. Woodwind and stringed instruments played tentatively (yet still producing a good sound, confident in its disharmony) to create the ambient and almost lonely themes which reflects the questioning atmosphere of the characters, and the director himself.

Kurosawa has ultimate confidence as a film director to force the viewer to wait, and watch as observers of his creation. This is also relevant to the battle scenes. The scenes are as far away from Hollywood drama as can be. It is refreshing to see such well choreographed fights with less emphasis on individual toil, transitioned to the horror and destruction from the strength of the army of the prevailing brother. The image of the burning fortress, standing erect between yellow and red armies could symbolise Hidetora's mental and physical hell. Moreover, Kurosawa could be attempting to enlighten his audience to a human society that is doomed if it continues in greedy pursuits. This is furthered by the the shock that is shown so melodramatically on the face of Hidetora as he realises the terror he has caused to so many people. Innocent Lady Suë's
attempts portray redemption as positive are too late and therefore quite futile. As this film is Kurosawa's last Samurai epic, it could be his last jab at the destructive feudal society of 16th century Sengoku Japan, and perhaps suggesting we have not learnt from the mistakes in the past?

 ps I would love to add more stills yet I don't want to spoil the film for you all.
*****

Sisterhood

Little Women (1994)

This movie took me by surprise. I didn't expect it to be as good as it was. For a start, the story is prefabricated from Louisa May Alcott's 1868 coming of age novel of the same title. Inspired by familial events, Alcott conjured up a poignant story which defined the lives of many young girls. But not mine. I started this book twice and both times felt the pace was too lackadaisical. The characters didn't seem to have depth as their wholly selfless attitude was unfamiliar. I didn't care much for their opinions on social attitudes to their dress. Conversations like these were too refined and the sisters (except Jo) didn't seem to have much temerity.

I sound quite damning on the book, which is unusual for me. However, I am very glad I watched this interpretation of the movie as I feel that Gillian Armstrong updated the story, enliving the drama (without it becoming silly) and giving a certain boldness and frivolity into the girls.

The close knit community of Jo, Meg, Beth and Amy March is enviable as they delight the screen with their childish playfulness. Games like play-acting have been forgotten with introduction of technologies as a rememdy to imagination out of boredom. Portrayed by some of the 90's most promising - or already estabilished girl actresses (its so nice to see them together in one film); Winona, Kirsten, and Clare and lesser known Trini Alvarado have a dynamic relationship which like all, takes on many forms (friendship, jealousy, hatred, admiration). The story seems more able to be transposed onto our contemporary society than when reading the book. The characters are more relatable and I feel there is less of the facade of the 'Little Women' being upheld. Only later do they begin to conform to their roles as females yet this is subtle as they are more impactful during their vivacious lives as children.

I also must mention that Christian Bale :o plays Laurie, whom to me, in the books seemed more of a brother. Instead, in the film he takes on the role as this flirtatious but charming boy (next-door) who really is just a bit of a lad. Again - more relatable. Similar to Laurie, the audience is the extra member to the March family. Their events and opinions on experiences are related to us and Laurie. He makes coincedental cameos at parties in order to witness their lives, and give excuse for him to  embody the audiences' thoughts and feelings. His passions for musical composition and theatre helps to intensify the story as the (extended) family do have strong interests in intellegent things. Alcott promotes learning, thinking and imagination in a warm, nurturing way, as if it is the deliverer of inner wealth and a good-natured and mature personality.

As a historical recount, it is interesting to compare films of the civil war from the Southern perspective to Little Women's Northern perspective. This being a children's story we are cushioned from the images of horrific war. Moreover, the absent father who is away fighting, is illuminated as a hero, which is fair enough seeing as the North were protecting Afro-American freedom. This idea of liberty deepens the book - as repeatedly the most prominent sister Jo is defiant against the idea of marriage, and she wants to contradict the stereotype of the feeble woman which impedes females from becoming their idea occupation - in her case, a writer. Beth, the more frail sister is free to be herself and not have to live up to the social expectations, she is encouraged to stay more reserved and play the piano if she so wishes.

This film is successful as an indirect reminder that femenism has existed since the 1800s and before. Moderninty is also captured when Jo embarks to New York City at the commencement of its role as a bustling city of oportunity. I would say also that the American idea of the pursuit of happiness is discussed. Frequently the girls strive for ways to make their situation or the atmosphere in the area the happiest or at least most positive they can. This gives them some direction and proactivity to try do this. It is inspiring to the audience who may take their contentment for granted or on the other hand, too lazy to rise out of self-pity.

This film is genuinely sincerce, and uplifting. At times surprisingly sombre. It also has a perfect cast.

****

Japangeles in 2019

Blade Runner (1982)

Let us just appreciate the beauty of this poster. 

In one image the whole aethetic of the film is captured so vividly. Set in a dystopian Los Angeles, with darkness and fleeting rain being a constant part of the scenery, our main characters shown in the poster, weave their way through the flowing current of 106 million people. 
LA has been Japanified. neon lights are the main source of illumination. This allows the atmosphere to feel contemporary, rather than wildly futuristic. The sparsity of CGI also adds to the realism. This is a key feature of what makes the film so good. However, it is insteresting to think that the storyline is this conflict between the real human and the 'Replicant' - manufactured humans - who are only distinguished by subtle traits only really recognisable by an elaborate test. This is why Blade Runner Decker (Harrison Ford) has to be sure. Despite this, there is little remorse when a replicant is shot. Their funeral is a statistic.

This film has been growing in poignancy. Yes, the costume, sets and score are achingly beautiful - but very 80s. Nevertheless, the notion and development of cyborgs, humanoids and AI is increasingly contemporary. It is as if the computer engineers are all sci-fi fans and just appealing to our fictional desires. Is this a good thing?

Ridley Scott (Legend, Gladiator) - the director explores many philosopical and ethical questions. People; living, seeing entities are created by a wealthy businessman who holds the monopoly on Replicant creation. He in effect is God. In the 21st Century there are questions about IVF, embryo selection and our role in altering and creating life. If, like the Replicants, you are known to be a 'fake' human, will the normal population view you differently. Blade Runner explores this through romance, and the prejudice that is held overtly by the police force of Blade Runners, but more subconciously by Decker . The 6 hunted Replicants have turned violent however in the finale they cower in fear of themselves and of death. How far do they differ from humans? The last, departing soliliquy is haunting. I won't say anymore. 

Rachael, is a stunning character whose wardrobe is uniquely 80s because of the her oversized shoulder shoulderpads and bold hair style. It takes inspiration from the New Romantics but also the more under-the-radar subcultures. She portrays a delicate classicism fused with futuristic shapes and materials. Ridley Scott sets up stunning shots in darkness with only a mustly light filtered through blinds; highlighting her ethereal cigarette smoke. Her image compliments the soundtrack which is hazy jazz on electro-saxophones and smokey synth presets.

This film is one of my favorites, and a visual spectacle. Full concentration is required for you to respect the beauty of Ridley Scott's masterpiece.

*****

Hitmen with Hearts: Léon

Léon: The Professional (1994)

This film slots between genres. The New York setting drapes the scenes of apathetic violence, whilst quirky costumes and captivating camera angles allow this movie to be iconic. The dialogue conveys effective realism. This, combined with the reactions from all characters - ranging from major to minor - which differentiates this movie from a unrelenting gunblasting gorefest that is a feature of many underpar action films nowadays. 

Luc Bresson's early films, including Léon, channel a suave ambience of cool. Carefully crafted characters that each have depth; back stories which compliment the final plot. The drama rotates around the axis of Leon and Mathilda (Natalie Portman), whose unusual relationship is foreshadowed in the first scene, then is accelerated to ensure survival. A slow, unfeeling man joining forces with a quick witted girl have been emulated, yet there are subtlties which elevate this relationship from clichéd, to believable and almost envoking envy.
      Girls like me will be jealous of Mathilda's clothing which outwardly expresses her sassy independence. 90s Bomber jackets and cicle glasses, multicoloured cropped hoodies and a red knit beanie; Magali Guidasci - the costume designer has a tasty recipe for a timeless style icon. She stands out against the drab, beige and dilapitated interiors of an appartement block in Spanish Harlem. Furthermore, every hit girl needs a signiture constant or hair cut - the bob and mini fringe and habitual choker conveys an idea that Mathilda knows exactly what she wants and has a dedicated and firm desire for her orders/wishes to be satisfied. Yet, she regains the ability to impart her naivity onto the audience. Bresson required not a teenager who knew sex, but an adolescent who thinks she knows sex. Hit Girl from Kick-Ass has obviously been modelled on Mathilda. Also is is amazing how Portman is able to distance herself from her more conservative upbrining to really empathise with the struggles faced by a smoking, shooting, impoverished pre-tee in NYC.

The film is supported by incredible feats of acting delivered by Jean Reno (admired so by Bresson,  Reno featured in nearly all of his early films) a french man whose impartiality replicates that of french mime artists. This ability to slip between the shadows is important so the audience sees the man who is fighting between his role as a machine - the professional and his internal human emotions. His lack of resilance against being bossed into a situation by a 11yr old masquerading as older shows how compliant he began - unable to fully decide his future. Residing in solitude, he acted as the streets' cleaner; underappreciated as he swept up other peoples' issues revolving around fear, money and revenge. This film documents his discovery for vitality.

His main nemesis could have been Mathilda who would soften his heart, yet this motif is only subtle. Really, Leon toughens Mathilda, who is in a state of fragility similar to that of a sloppily made structure. More obviously a nemesis presents himself as a very complex character: the corrupted cop. The hypocrisy of a Drugs Enforcement Officer who himself prepares for killing with pills,  is a foil to Leon's honesty. Gary Oldman, whose performances all evolve through different tones and oclours, is really chilling. The lack of a conscience disturbs many, yet how Oldman is able to conjure up such a human is even worse. For Natalie, all she has to do is watch.

Another contrast is the sexual undertones. Subplots of Mathilda's endeavour into love lace the film like a thorny rose vine. It is ambiguous whether actual sexual passion is felt or is it a combination of Philia - love for Léon as a mentor and acomplice or a replacement paternal figure. Portman has the air of a Jodie Foster in Taxi Driver type of character as she steps tentatively out of the bedroom wearing dark eye makeup and a deep pink dress. There is constantly a cushioning of action happening, yet it is not in a protective, propaganda-esque way (although some scenes were cut for the US audience's response was deep discomfort; the editor responded to the target market's wishes) - it is merely to give the film a depth and character interaction. Underage girls do have relationships with older men and we should not be feared by reality. It was essentially the story of Bresson and his first wife who was 15 at the time.

This is an intreguing film that has not suffered from hype (at least not in my circles of influence). The film bridges the gap between gangster film noir - like Heat, and loud crashy action movies. It even has hints of the french atmosphere constructed so beautifully in films like Amélie.

*****

Punks

Francis Ford Coppola

presents

Rumble Fish (1983)

Coppola creates beautiful films. Think of Apocalypse Now & The Outsiders. Rumble Fish is a brooding, pulsating drama of a disturbed youth surviving through a troubled upbringing. His brother, the anti hero of the movie is meant to be an intimidating gang member, but is living only on reputation. He is imortalised with his name 'The Motorcycle Boy' remaining scrawled on the bare walls in the outskirts of Tulsa, Oklahoma. This modern city is skyline opens the movie, creating an idea of civilised society, people in work or appartment blocks. However the section we is the opposite. Dark wastelands under bridges, fenced alleyways whose concrete ground is cracked and the rain (pathetic fallasy for this depressive atmosphere) fills these; its pockmarked with puddles. 

The heavily contrasted film echoes that of film noir. Mystery surrounds this ambiguous plot which is submerged in underlying meanings and symbolsim. It begins however more conventionally. There is a dance like fight (similar to West Side Story), but both parties of Rusty James, and Biff Willcox seem to want to hide their apprehension prior to it. Rusty is backed with the protection of an rabble of a gang, and Wilcox is hiding behind drugs to numb his senses. However, they overcome this and the fight is electrifying as Coppola switches between shadow and illuminating sparks of white light. 

This is a story of a boy, struggling to understand the actions of his friends, his alcoholic dad, his legendarily cool brother. He wants to be more than simple, and its sad to see people not giving him a chance. His bravado is captured in his unique look of a white vest and rambo styled bandana and also a black leather biking jacket.

Matt Dillon (The Outsiders - the less avant-guard younger brother to Rumble Fish) is a great youthful actor who captures the pain and confusion in his facial expressions. He is naive yet more earnest than some gangsters who are portrayed on film nowadays. In this way, you feel sorry for him but not in a pitiful way, but angry that his situation is inevitable and the poverty that he lives in through no fault of his own, is so hard to overcome for a 17 year old. He is the epitome of the wasted youth.

Nicolas Cage, Diane Lane and Vincent Spano - the other kids in the movie - keep Rumble Fish less malicious, and we remember they are just kids who have the same teenage problems of love and school conflict. However they also highlight how genuinly unsatisfactory Rusty James's home life is as all their lives are more protected. Diane Lane as Patty portrays a similar character to that of The Outsiders; the girl who lives in a more conventional and safe world yet is tempted by the wild rebellious life Rusty James lives.

The film has a motif of Rumble Fish - fighting fish who will end up even fighting themselves if they see themselves in the reflection of the glass tank of a fish bowl. They are the only things in colour, giving the film a psychedellic edge and you worry that Rusty and his brother will only find an outlet through drugs (luckily Rusty is in defiance to Heroin yet The Motorcycle Boy lives life more carefree, his idea of morality is frayed after years of fighting in punk gangs). The evolutionary fighting nature suggests that the kids can't escape their personalities and upbrining. They instead will fight inwardly whether to try and better themselves or capitulate into their fate. Also presented is the idea that human instincts to live within a pack conflict with the lone wolf impulses that torture all. 

This film is elegantly rugged, this feeling created by the lush contrast cloaking this dark subject matter. This is the most unorthodox take on a teen movie before Kids - there is no Hollywood-esque structure it conforms to which is very refreshing. Lastly, Matt Dillion is the best actor for any JD type anti-hero.

He's real bitchin' man

****

appologies for these reviews getting longer... comment if you want and thanks for bothering to read :)

Wild West Americana juice (Paris, Texas 1984)

Paris, Texas (1984)

Immediately there is a juxtaposition in the title; Paris and Texas - two very distant, different places yet are joined by their inclusion in American terminology for describing places - like London, England. Before watching, I thought this film was certainly going to be surreal as this film is created by Wings of Desire director - Wim Wenders. Him being German allows him to look in on the American culture, and present it in a way that is not overbearingly laboured, or really patriotic. Paris, Texas makes me think of a dustbowl hamlet in the middle of the desert; the town planners thought they were being ironic.

And thus, The film beings with a panoramic view of the desert, and walking over dunes is a biblical figure donning a red baseball cap. It is his version of the Christian cross, instead for
the religion of the American man. The colour of the sandly yellow against the blue sky and red of the cap is sharpened due to Wender's ability with framing and creating effects with lighting. The simplicity of these primary colours creates the atmosphere continued throughout the film; a passive calming appraisal of a life in the American west.

Its a road movie as well. The trajectory is mostly straight - like his idea to find Paris, Texas although, his motives which are confused and unknown, create deviations off the freeway.  

Apparently Wender's was inspired by the Searchers - a Western in which the lone figure of John Wayne travels, without a clear plan to find his niece captured by Native Americans (it's a very good film)

However, this film is punctuated by relics of consumerism. They are almost as beautiful as the natural landscape now we have been brought up seeing them all the time. This is conveyed when our raggedy wanderer, when understanding his brother designs the billboards exclaims that they are 'real pretty'. Amusingly he believes he is the sole maker...

This idea of the one person that fits a purpose in life goes throughout the film. In a child's mind we have this idea of all the adults we meet. There is less ambiguety and this is how our man sees the world until he surfaces again into society. He wants to find out who 'the father' is? Does this relate to God, as he searches for his place of conception, or notion to the American stereotype of the familial roles? He gets amusing advice from the helper woman who states there are only two types of fathers - rich or poor and how ones outward appearance dictates which one you are.

Contrastingly, it is the child who creates the points of tension in the movie and is the one who is most mature. Our child, Hunter, ends up having two fathers and he can't explain this problem. He tackles it well though, as the kid is a sarky LA 80s kid whos sardonic language is funny - in LA the kids grow up quickly. We worry for the kid - if all this complication with his dad will affect him or when he drives away with his dad, if he will be safe. Through him we also see emblems of 80s america which now look pretty retro - like a Nasa bomber jacket, or a Star Wars bed quilt. (He's a pretty cool kid)

The simple purity of travelling is conveyed as our man wants to walk everywhere - people need to re-engage with their legs again. It's sad because its so peaceful and easy and correct (because that is what we evolved to be able to do). Especially when the car became an essential in the 80s,
it seems like no one walks for the sake of walking anymore.

Similar to Wings of Desire, the screenplay is very thoughtful, though more naturalistic which is interesting. It makes it seem more like an Art film where the viewer is just witnessing someones life, filmed neutrally. The film beings with a sparse commentary as our wanderer doesn't talk, however at the end he ends up reciting a beautiful recount of his life and how he ended up like he was at the beginning. The cycle of the story is envisaged so nicely. Just as nice as the mother 'Jane' is with her 80s cropped blond hair and pink fluffy jumper. Despite being a prostitute, she is quite demure and incongruous As Wenders doesn't portray these woman as obvious 'scums of the earth' kind of characters, it is quite refreshing.

This film for me was really compelling and the tranquility of the bluesy soundtrack lulled you into a state of awe and passiveness as you journey in the brilliant sun of Texas, through dusty outposts that could be the last point of civilisation before the vastity of the Mojave desert. Then going deep into Huston, a futuristic city which when drenched in orange dawn light, makes you think your on Mars (in the future when we can go and live there curtesy of NASA). The director makes you quizzical to what direction you will take your own life through the use of multiple shots of roads, dissapearing into the horizon, or raised highways, criss-crossing over the characters' heads.

****

Making Sense of Vietnam

Apocalypse Now (1979)

This is not a blockbuster film; this is not an action adventure - there is nothing that can be said about this film to romanticize it. Apocalypse Now is a shocking eye-opener for someone who had only heard rumours about Vietnam. I had previously watched films seeing the protests; seeing returning casualties try to endure re-entry to civilian life (Forrest Gump). Also I learned about the student protests in a long list of dates, statistics and acronyms.

R 'n R

Watching Apocalypse Now was trippy. A surreal psychological experience where ones eyes are glued to the screen. You are submerged into the contrasting atmosphere of gliding down idyllic jungle rivers, with the sun reflecting off the water in a radiant orange glow, and dark, stark realities of an anti-communist war in the eyes of USA. It is impossible for thoughts to meander away from what unfurls in front of you.

The soundtrack of ambient atonal orchestra music and the Door's The End  were the perfect non-digetic tracks - and really - The Doors track made the film for me; an 11 minute wavering, lyrical hymn to pyschedelia and all it stands for. The fatalism emerging from this song is what makes it so poignant for a film like Apocalypse Now. America went in too deep and now are now reaping the consequences whilst swinging on the rope noose, tightening on their guilty necks.

America from my point of view are bolshy, and unashamedly self-righteous. All started with the Truman Doctrine when President Truman declared it was America's duty to protect the world from Communism. This fear of this antithetical threat escalated in to an irrational hatred, that was first shown politically, then physically with crazy witch-hunts for communists and bizarre cult of McCarthyism. Then 'Nam came along... I don't know the origins yet somehow like a malignant tumour, the panic spread; conscription by birthday amassed a rabble of an army. An army of youths lead by stubborn incompetent Generals will never be successful. We learn about the protests but not exactly why they were protesting. Now witnessing where they were going - it angers me further as the protests didn't end the war or stop conscription. American's are not allowed to buy alcohol until 21 yet it is apparently okay to send them to Vietnam - to experience such atrocities.

Just how incredibly farcical the whole situation had become was witnessed in the 'epic' flight of helicopters descending on a village at dawn. Colonel Kilgore hollers; 'play the music - my boys love it' and Ride of the Valkyries swarms from above. It is incredible cinema. However patriotic this scene may be, it is horrifying to see the lack of remorse, and enjoyment the men are having when flying in the helicopters. Until mistakes are made and death swoops down. The realism of the fun, coloured gas and bright explosions of Napalm of are complete opposites to the harrowing events

Mental instability is a massive topic tackled here yet there is no clear resolution - the ambiguity leaves you unsettled but provokes much thought. The acid culture that the soldiers bring with them, creates a dream world where they are fighting unconsciously. They only see the hatred of 'Charlie' which has been fueled by propaganda and lies. When the target - Colonel Kurtz (the ultimate soldier gone insane) - surfaces, we join Francis Ford Coppola on a journey into the depth of the deteriorating mind. It expresses a human conflict between our beliefs in being civilised and primordial instincts of seeking power within nature. Marlon Brando is memorable as his poetic words spoken delicately are really quite chilling.

This film must be watched with foundation of knowledge of Vietnam war to fully appreciate it. Best film.
*****

Kool Kid Witches from the 90s

The Craft (1996)

Finding this film was like finding the last of your favorite sweet in a bag of pick and mix. Thinking that I had come across all half-decent teen movies, I was surprised by my find of The Craft. This mysterious film introduces witchy tension and excitement right from the very beginning - strange occurrences are unveiled on screen in the grungy light of 1990s cinema drenched in Californian haze...

Then we enter High School - the arena where anything is possible - and this time it is witchcraft. Walking down river gorge like corridor, where the lockers are the cliffs, the new girl from a different part of America tentatively walks down shielding her chest with schoolbooks. It is a common scene however the characters we next meet aren't; Bonnie, Nancy and Rochelle and the word circulates - they are witches! Requiring a fourth member to complete their 'compass'.

Bikini Kill - loving the platinum blonde hair

Describing them as a little strange and eccentric is an understatement. Bonnie jaunts around - swaying brown hair in middle parting, exuding a totally uncaring attitude, Rochelle, who is more sprightly and lighter in her fashion choices - she actually wears colour, finally Nancy the lead singer in this riot-grrrl formation dons a Cruella de Ville-esque contrast of ivory hair and a ghostly white complexion. The individuality of feminist bands like Bikini Kill & Bratmobile are replicated in coolness of this coven.

Lilly Moscovitz from Princess Diaries 

Fashion wise, I am most inspired by Rochelle seeing as we are like twins so I got very excited when a mixed-heritage girl is one of the main characters. Her hair is real versatile and so she successfully pulls off the 90s style of random hairband and dungarees!

"whispered... the secret section
This film is the kind of film you want to be kept secret - and not fall prey to the nostalgic and hyped trends of Clueless, whereby in the end it is just not so special anymore... but The Craft just too good for me not to write about it ;)"

Romance is not portrayed as obviously as other films; it includes suppressed cravings for attention from the opposite gender to magic induced devotion with undercurrent of vengeance.

The story is equally strange however, enticing as you wonder how their naivety affects their use of magic and their strive for revenge - and there are some disastrous consequences. Selfish teenage desires of perfection and fairness distort their morals and power becomes uncontrollable, demonstrated by the crazily escalated ending which is so bizarre but at least makes it stand out from the formulaic films of Hollywood.

****

Now is the time. This is the hour. Ours is the magic. Ours is the power. Now is the time. This is the hour. Ours is the magic. Ours is the power

A short post for a short fable.

Animal Farm (1954)

A contrast to the last post; this is an lament to Marxism and Communism. Its childish simplicity of a cartoon fable makes all communist philosophers look phony if the essential ideas can be understood by children. Yet Karl Marx speaks to all, like Major - the pig - who is an anthropomorphism for Lenin and Marx.

Is this the truth in our society?

Existance

2001: (A Space Odyssey) (1968)

This film is stunningly cool. The usual superlatives of groudbreaking, awesome, breathtaking which realistically are too simplistic to describe this film. In fact, by labeling this as just a film - it really confines the depth and scale at which Stanley Kubrik is exemplifying on screen. This is Kubrik's operatic proclamation on our (humans') concept of our dawn of existence, concluding with almost the demise of all life itself, only then to embark on a new circle of life - alluded to at the end of the film. 

This is a biblical epic, but not on Hollywood's terms. There are no allusions to Jesus similar to Ben-Hur or monumental miracles performed only by God. Rather, it is biblical due to the film acting as a religious text for the religion of Agnosticism. It is neutral in its questioning atmosphere and tranquil facade that prevails in Space. There is an open sparsity which is related to the viewers with the vast barren landscapes and the wide angle shots used frequently. The film does not eagerly provoke which is successful in allowing the viewers to interpret it freely. The meaning behind the infamous black rectangle is unexplained and therefore after any viewing your mind reels with abstract concepts. 2001's serenity only increases the tension as a disastrous problem is surely oncoming...

I watched this film for a second time whilst multi-tasking and therefore I could only really listen. However this experience was just as magical as watching because the sounds that are essential for creating an atmosphere were amplified, especially the rhythmic breathing. In most films you almost forget actors breath as it is rarely heard. Furthermore the soundtrack of Johann Strauss' Blue Danube and most interesting choice of all: Also Sprach Zarathustra. This was a piece inspired by an epic poem and the philosophical writings of Friedrich Nietzsche. Immediately a transcendence mystifies this film - questions only too deep for a 15 year old to be answering ;). 

Hal (9000). The Heuristically programed Algorithmic computer who is the central nervous system of the shuttle and the expedition. The word algorithm sets me on edge at once and start becoming uneasy about our future. Artificial intelligence is starting to creep in, and discreetly altering the way we live our lives. We are powerless to stop this. It seems as if we are living in the aged, foretold in 2001 yet we are obviously a little late. This is merely the beginning. However, to fear is not correct, for Hal is not scary, he is not your average evil antagonist. Artificial Intelligence 'mimics' human emotion and therefore Kubrik brings us to empathize with a computer - this is the scariest prospect. Hal is paranoid, scared, hiding behind the pretense of perfection, which is something us humans are culprits of too. 

'open the pod bay doors Hal'

... is one of the most haunting lines in cinema I have ever heard. 
 
 2001's design is flawless. The futuristic concepts are scarily realistic. Was Steve Jobs inspired by the film for his version of the tablet? How Kubrik has constructed the film is beyond me. I would advise you go read a film journal or the Guardian if you want to find out.  

The design for the space ships are similar to Star Wars however one must remember that Star Wars was 9 years later. Star Trek had no way near the complexity, scale and funding that 2001 must of had yet again, but the Enterprise does have a comparable design. The interior design of the landing bays seem sterile and 'electrically' incandescent but beautifully modern and not at all dated. The minimalistic white makes the decks glow. Despite this I do love some of the 60s dress styles that themselves were inspired by the futuristic space age look. Furthermore, the red Djinn chairs epitomise modernism. Even their namesake can be interpreted '
Islamic spirit capable of changing shape' to tie in with the film's spirituality.

This is the definitive Science Fiction film. It confuses, delights and certainly cathartic. The anonymnity of the characters is a relief from the bombardment of plot, character traits and action that is concurrent in the Blockbuster industry today.
Stanley Kubrik is revolutionary.

*****

Dear HaShem, Sincerely the Cohen Brothers

A Serious Man (2009)

This film is prefaced by an intriguing Jewish fable about the multiple Rabbis. With the dialogue in Yiddish (we were deciphering whether it was Polish, Russian, German or even French?) and an eerie prevailing atmosphere, it sets the stage for a 1960s comedic tragedy, exploiting the paranoia and self-deprecating attitude of a Jewish community in America. Parodying the uptight personality of American Jews is a subject that has to be portrayed sensitively however Joel & Ethan Cohen can take liberties as the film mirrors their world; being Jewish kids also growing up in the 60s, this community is a product of memory and imagination. These directors are not afraid of being disliked.

            The style of this film is one seen in the works of Wes Anderson, Spike Jonze and Jared Hess (director of Napoleon Dynamite). It is awkward, subtly mimicking, direct and the tones and setting is neutral. It is easy for the characters to fit into the neutral story/setting like clockwork rather than emerge as the Hero. Perhaps Jews don’t have Heroes, just pawns following down Ha’Shem’s path. 1960 is created so explicitly you come out the cinema believing you were watching this in the time. Its extremely inviting – most sets are shot face on and at eye level so they seem open – like you are inside and the awkward atmosphere is due to the audience’s intrusion into intimate affairs like discussions of divorce and at ‘Get’ or private conversation with head Rabbi Marshak himself.

            Joel and Ethan create a paradox; they show the world what is behind the dispassionate façade of a Jew yet in the story the father (main character Larry Gopnik Michael Stuhlbarg) who is untrustworthy of the world outside the community due to experiences. He lives next to a redneck who is intruding on his land. He feels constrained by his job and family – his opinions of his ineffective life subdue the nonchalant tones. He is stagnating but also at a crossroad. 

The directors weave in the uncertainty principal neatly into the film. This is not just for the characters but allows the film to take unexpected twists and forces you to question your own life.      

We pity the Jews just as much as they pity themselves. In history they have been the scapegoats and they almost accept their fate by making themselves exclusive to their race and religion: Jew school ect. Larry Gopnik believes all his problems can be solved by discussion – conversation with God’s prophets – although this film hilariously questions their usefulness. Their traditions are age old and so are the people that uphold these traditions the most; the young generation is more rebellious, tainted by the surging youth culture in the 1960s. This film is poignant, heartfelt and the best is the little footnote: No Jews were hurt during the making of this film.****

      

Goodbye to Berlin

Cabaret (1972) 

Yes, I know there is a trend to this blog - films set in/about Berlin. Some of it is coincidence, some of it my intrigue into the city and how it has been shaped by its history and mythology as being a turbulent city with war, peace and bohemians. 

In Cabaret, Berlin is not landlocked between Capitalist and Communist states, but instead is being roused up by Fascism: its 1931 and the Nazis are shaking the status quo. However, the film is not centred around the politics of the country. There is instead a jazzy, uplifting yet ambiguous romance between whimsical Cabaret dancer Sally Bowles and refined English teacher and Cambridge graduate Brian Roberts. They have a symbiotic relationship as Sally Bowles' attitude to life; carefree but entangled in childish desires affects 'Bri' as he loosens up and feeds off the energy that Berlin feeds. Again, it is interesting though how two lifestyles conflict between their hedonism and the foreboding maliciousness of the Nazi's that are soon to enthrall Germany. Brian becomes angry and their tightening grip yet still citizens believe they will pass out of popularity soon.

The film is undoubtedly erotic although its displayed more obscure than expected. The Kit Kat Cabaret club opens the film and becomes a motif for displaying Sally Bowles's thoughts through the songs she performs along side the enigmatic, but frolicsome MC (Joel Grey). The noise and colour are exciting and the dances are dynamic and very theatrical. The setting is a fusion of vintage, with modern highlights as Bob Fosse (Director & Choreographer) displays his unique choreography - and the costume design, although true to the era, reflects the trend in the 70s to emulate the style of the 30s.

Sally Bowles as Liza Minelli is perfect casting as she portrays a confidant exterior when dancing, her sensual routines combined with her definitive black outfit with the bowler hat. This is juxtaposed with her childlike face, yearning eyes and ladybird-esque hair cut that defines her but incorporates her vulnerability alongside youthful integrity. These attributes make her a very curious and engaging character!

They are just too good!

The dynamism of the characters, who slot into the bubbling location successfully, mean that relationships fluctuate just as the city is constantly changing. Christopher Isherwood - the author of the original text that influences the film - mirrors himself in the text as Brian. Brian is indecisive about his sexuality which makes him seem more insecure - this feeling is echoed all around the film - as if he is moving away from his repressive background of Cambridge University, into the unknown and almost wholly accepting society of Cabaret dancers and Playboy millionaires.

Apart from these serious undertones, the film has a great soundtrack, the song Money makes the World go around is very relevant today. This film should never become decadent.
****

different directions

Another feature of Escaping Teendom will be short 700 - 800 word stories based on photographs or pictures. (ngl practise for english gcse controlled assesment). If you would like to contribute then email your article to teendom@outlook.com. Hope you enjoy

Ich bin ein Berliner

Wings of desire (1987)

This is one of the few films that has immediately made an impression on my state of mind. This film is so stunning that words cannot really describe the feelings of awe and adoration for the film and the city and era it portrays. I think the connection comes due being a teenager, therefor having a sense of distance from childhood, yet like the characters in the film, retain an innocence to the routine of adult life. The film is poetic through its script and its lyrical beauty of combining the heavens and mortality in a rich black and white film.

Berlin seems idyllic with its raw creativity and potential. Bombed spaces and disused areas give a beautiful backdrop in which to convey a calm solicitude. Berlin in 1987. The city is alive with rebellious culture due to the political constraints of cold-war society. The wall hinders free movement and is imposing yet the artistic graffiti corrodes the wall as a symbol of authority like a disease. Yet still capitalist West Berlin is separated from the waning communist east.

Bruno Ganz (Hitler in Downfall) creates a character who is extremely complex in beliefs and attitude towards life and whether his position as an immortal angel constrains or enriches his resolve. With a teddy bear-esque enthusiasm he surveys the city and gives a warm touch to those in need. In my mind he has a unconventional handsomeness which elevates him to a position of strength and legitimacy. His long rich cotton winter coat (the preferred outfit of the angels) gives a sense of anonymity as they blend into the hollowed out Berlin.

The film is extremely musical although its not its ultimate priority. As previously described, the poetic script could be seen as spoken word, and for once, the German language is as flowing and dulcet as french, and has a melodic intonation as varied as English is perceived to have. More obviously the actual soundtrack feels so perfect its holy.

Nick Cave and the Bad Seeds feature as themselves in a scene where the two  lovers (Bruno Ganz as the angel Damiel and Solvieg Donmartin as Marion) meander through the amazingly 80s crowd at the amazingly raw concert. The live energy delivered by Nick Cave is electrifying despite being shot in solemn black and white. Another scene where the two characters are transposed onto a idea of heaven makes me think of a Kate Bush music video.

After watching the behind the scenes, it has exposed me to an alternative kind of creativity. Director Wim Wenders prompted the idea that this story was thought up after a near death experience involving an overdose whilst frivolously experimented with hash-brownies.

The correlation in a way gives some further depth to the story to know it is influenced by real circumstances.

This modern fairytale is lusciously symbolic and this ensures that repeated viewings is required - which is certainly a bonus. Moreover, the film acts as a time capsule for the underground rock scene of Berlin, which luckily has of yet escaped being affected by cheesy nostalgia.

Wings of Desire really is too divine to put into words - when watching, if in the right mood, it almost becomes a numinous experience.