Life out of balance

Koyaanisqatsi (1982)
Koyaanisqatsi, est le premier film realisé par Godfrey Reggio, et ce film certainement cimente son héritage dans le monde du film. Ce film répresente le terre, essentiellement, USA, en toute sa gloire, sans ignorer aussi le contraire; le pauvreté abjét. En démontrant la nature magnificent, dans les scènes premières, on peut comparer comment on voit la beauté de notre monde avec l'absence des humaines. Or, avec la présence des humaines, est-qu'il y a la même beauté, ou peut-être, est-qu'il y a plus?



Ce film ne cherche pas un sens ou un signification. Au début, la réalisateur a voulu n'avoir rien comme titre. Il est ainsi approprié que il a choisi Koyaanisqatsi. Le spectateur n'est pas donné un façon dans laquelle il doit regarder le film. Il se peut qu'il soit un sérénade à la technologie et la modernité, ou un hymne pour la vitesse des cités et leurs régenerations? La seule clé est que la mot derive d'un langue Hopi, parlé par les indigènes qui habitent en Arizona, un langue ancien. Reggio présente l'idée que les états unis ont un histoire, mais ils avaient préféré de créer un nouveau monde, et utiliser les résources naturels sams cesse. Conséquemment marquent le terre, dans n'importe quel façon ils choisissent. Les images sur l'écran montrent comment la terre est exploité, apparemment très aggressif. Les machines déchirent le sol et la violence est illustrée à travers les explosions nombreuses.

Cela semble très moche, en outre, je crois que c'est la composition qui le fait si belle. Le rythme du film est dicté par la vitesse des scènes. Avec 'time-lapse', les nuages coulent gracieusement sus les montagnes forts et les ombres sous les nuages rougissent l'image. À mon avis, c'est le long duré des quelques scènes qui donne l'impression que les scènes accélerés sont en réalité plus lentes. Il est une illusion intéressante. C'est la prolongement des coleurs et les lumières des voitures, ou des fenêtres, qui augment cette abstraction. Toutefois les aspects visuelles define beaucoup de le rythme, il est aussi la musique. Le compositeur, Philip Glass, a une maîtrise de la marcottage des morceaux dont chacun s'entrelace. Pour chaque chapitre, la melodie commence avec une note dramatique, et des cuivres grognait comme un tremblement de terre.

Ce qui est le meilleure élément, c'est la mode, et la couleur du film qui est synonyme avec les années soixante dix. Les scènes avec les gens sont faits plus fascinant pour moi parce qu'ils évoquent un sens de nostalgie que je peut sentir, même si je n'avait pas encore été née. Plus important, les scènes de Monument Valley provoquent les sentiments de la Sublime, une émotion très enracinée dans mon esprit et mon âme. Est qu'il est claire que les films western aient inspiré ce film, en plus, que les autres films dans la future soient inspiré par le talent artistique des réalisateurs. Enfin, ce film preuve comment on peut rendre quelque chose belle avec un plutôt petit somme d'argent.

*****

SPIES!!!!

No Way Out (1987)


No Way Out is a stunning film, aurally, visually, as shown by this publicity photograph above, and the plot is quite mesmerising. The film's storyline is loosely based on the 1948s original - The Big Clock,  however the events have been updated to reflect the political climate in American at the time of shooting; a brief ascension in cold war tensions, and also reflects the modernised mode of warfare; the interface of technology.

Sean Young, Blade Runner (Susan Atwell in the film) compliments the films desaturated late 80s/90s glow so beautifully. Her playful attitude is almost sparkly like champagne or jewellery. It is therefore appropriate that both main characters, Tom Farrell, and US Secretary of Defence David Brice value Susan as a stylish and very necessary accessory. Yet, it is Farrell, who meet Susan at an inaugural ball, and falls for her glittering allure. There begins one of the films storylines, a romance which is youthful and free, as the two characters drive in open top cars and sail in expensive yachts. Tom Farrell (Kevin Kostner) is beautifully laid back and happy when he is with Susan, again shown by the photo above, with Kostner - hands in pocket and a coy smile. This is why the mysterious events which follow have so much tension, as they contrast such a blissful start to a film. (Regardless of the ambiguous starting 5 minutes whereby the premise of the movie is set - secret organisations and spies).

The freedom that exists in Farrell's life is suddenly throttled as he moves into a position under the direction of the mysterious duo of David Brice (Gene Hackman) and Scott Pritchard (Will Patton). It is worrying to see the power of the US army, therefore the 'guardians of the free world', sitting and scheming in an expensive cafe, residing like Gods above hallowed diplomatic ground of Washington DC. Yes, as protectors of democracy it is beguiling to see such drama being so insular, with scandals able to be closeted, and bypass regulated organisations such as the FBI. The white suits of the US navy are interesting costumes as they keep the audience reminded that Farrell has seemingly full allegiance to the US. This allegiance is important when weeding out a mole - a Russian spy - who lurks around the Pentagon. There is an indistinction at times whether this 'Yuri' a computer virus, a secret file or is an actual person; a double agent. One of the most terrifying concepts in times of war, a double agent can infiltrate anywhere and the knowledge of a mole raises the claustrophobic atmosphere of mistrust to levels of suffocation. Speaking on computers, one of the other very interesting concepts from the point of view of a 21st century viewer is that the slowness of the computers is almost farsical compared to today, however the fact that most of the investigatory department are so rapt with their ability despite the length and ardous nature of procedure, that the audience becomes equally excited as well.

As a thriller No Way Out is certainly thrilling, yet at times slightly too obvious however this doesn't detract from the other beauties of the film - the visual juxtaposition between the outside American and the insular world of the pentagon. Chases, that compliment the plot, and the searching of the building by witnesses highlight this feeling. The sharp corporate suits and naval uniform glare in the North American daylight. Atmospheres are important as they act as a curtain to cloud the audience in the uncomfortable feeling of not knowing, and consequently being totally unaware of upcoming twists. Hitchcock mastered this and now his technique has shown to be very influential and successful. The music almost sounds Hitchcockian, with uneasy harmonies, and creeping melodies. It would not be anything if it were not composed in the infamous 1980s fashion, using heavy synths and percussion pads.

 

80s beauty

I didn't expect this film to be so good
*****

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.
*****

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.

*****

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.

****

Time to Fight!

80s fun is summed up in this concise movie: 3 O'Clock High (1987).

Jerry Mitchell, you're average guy who is one of those eager types who joins school communities, wakes up and has an epiphany: today is going to be one of 'those days'. A frantic rush to school follows, he even drives the car whilst brushing his teeth. Kids, multitasking whilst driving is not advised. 

So it starts off a bad day and gets worse when scenes of Grand Theft and brutal fights with knuckledusters take place at High School, surveyed by the menacing principal. It all started when he patted the back of his soon to be adversary; new kid but also a 'touch freak' Buddy Revell.

oh no he didunt!

No its not as graphic as that, in fact its rather sweet. With basic high school story line and witty humour, 3 O'clock High is one of those rainy day films that's light but engaging. Plus it's like a time capsule, American 80s fashion and style is on full display even if it may be over-exaggerated, but hey maybe people really did wear bright orange scrunchies with a 4 coloured sweatshirts? 

The film deals in stereotypes, which makes it more amusing because its easily understandable where the characters fit and consequences of friendships. The story is mostly conveyed by rumours, the kids all know about the 3 O'clock fight, Buddy Revell is thought to be this demonic boy as the gossip augments the truth.

Also, it has a great typically 80s sounding soundtrack by Tangerine Dream.
 ***