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.

*****