Ben 'Fellini' Rider's Rendezvous with Cinema

Quick Films of the summer, So Far... (Part .1)

2010-07-22T03:09:00.000-07:00

Hi all,
What follows are a collection of 5 films I have watched recently... from BT VISION to theauteurs.com.

Here we go...

1.'Apt Pupil' - a dark thriller based on Stephen King's short story of the same title, stars Ian McKellar as a Nazi under the blackmail of a student who believes he will learn from the knowledge the escapee has. Tense.

2.'The Science of Sleep' - Gondry returns once again with a cheerful bittersweet film that reminds all viewers (like he did with 'Be Kind Rewind' and 'Eternal Sunshine...') to look for the beauty in imagination and the magic of Cinema. Notable for a tour-de-force performance from its leads.

3.'Vagabond' - As with her many others, Varda fails to disappoint, her film remains an echo of beauty which can only be described and understood by her passion of sound, movement and time. Culturally speaking the film's ageing is only in the technology and remains very relevant to today’s youth of gang rivalry.

4. 'Control' - For biopics of 2006 this British film was heavily missed by large audiences, its a sad - perhaps even slow in areas; but is worth watching for Samantha Morton's ever lasting fluid performance.

5. 'Pay It Forward' - Drama, intellectual. Worth one watch, could not return to it without a long break - however has the same effect as the first viewing, powerful for its message of society and humanity in general. Strong performances. Imagine Ingmar Bergman meets Crash (2004) in the desert of Los Angeles.

Thanks for reading,
B. 'Fellini' Rider

Claire Denis - 'White Material'

2010-06-28T10:28:00.000-07:00

Hi all,
Long time no write.
If people are reading this blog please take the time to subscribe.
Last week on Thursday I was invited to the Sight and Sound Preview of 'White Material', by Denis - who attended the screening and gave a Q & A following it. Now to the review of what so many are declaring outstanding...

'White Material' 2009 / 2010

Denis has been remarked as the greatest film maker alive, whose working currently, although I personally still feel that Herzog still maintains the spot of 1st place it is hard not to comment on Denis as an equivalent representative.
'White Material' is a work of a true master, whose ability to tease the audience with 'check points' for narrative structure, or as the film maker herself puts it so easily: 'I like working with ellipses'; 'White Material' is the product of just that, an effortless film - constructed on the seamless characters and the performances which are delivered as pitch perfect tunes.
The film is memorising, and a cheer joy to watch on a large screen, its texture and careless attitude shocks and provokes and will leave any audience member riddled with agony for the situation. Denis is an auteur of great power, like so many others of her 'generation', such as: Haneke, Herzog Varda etc. Her work only seems to be improving.
Its a fanstatic film, so perfect I cannot ruin anything featured in it. Simply skim on the top, merci Denis!

Jane Campion - 'The Piano'

2010-06-09T03:35:00.000-07:00

Hi there,

After many months of waiting and somehow never watching it, The Piano became my next film trip...
for a little background the film was recommended to me by one of my film teachers and so held some importance, besides being the first film by a female director to win the prestigious Palm D'or, making it a landmark in film history.
But that is not all which surrounds the films special trivial facts, its Oscar to Anna Paquin (playing the daughter of the mute piano player) at the time was the youngest performance to receive the award, it was the last film watched by the front man of Nirvana (Kurt Cobain) before his death and featured a depth of reputation for being one of the greatest films made.

'The Piano' 1993

Landmarking the New Zealand coast with the cargo of an arranged marriage Holly Hunter's mute character 'Ada' is delved deep into the unknown, here Campion intrigues and offers the journey to the reader of a transfixed silent voyage of cinematic language.
She teases and flaunts with her intense variety of extreme close ups, swift editing and Nyman's music written for the film.
The film's narrative and un-usual communication is not the only aspect of Campion's drama, she uses a variety of colours and excites viewers with the simplest touches of small tunes being played in dark corners, smiles and Hunters unemotional looks, which are similar to catherine deneuve in 'Belle De Jour', these only provoke emotion and pure cinema - the language of cinematography and the eye of the viewer.
The film is seamless and acts as a poem in its playful 'play' of blue-beard to the most evocative tree trunk slow-mo. Its skill and dialect of a perfect balance between serenity and reality creates a memorising film, which can be revisited again and again...

B. 'Fellini' Rider

Agnes Varda - 'The Beaches Of Agnes'

2010-06-08T01:38:00.000-07:00

Hi there,

Here is a post of a film I watched last week, Varda - a master of French cinema - has somehow ended up in the pile of DVDs to watch again and at first I was sceptical about 'The Beaches...' as it was a kind of remake of her outstanding film depicting her husbands childhood, 'Jacquot de Nates' 1991; but once again Varda charmed.
Somehow the weather helped me choose this film, the summery days reminded me of beaches which I spent my childhood at and so I watched the film.

'The Beaches of Agnes' 2008

Truth of the matter I would like to review this film in one sentence:

Utterly charming, moving, and pure cinema!

Rumoured to be Varda's last film 'The beaches...' touches any fan of her works heart as there is the fear that this is the last of her work which we will have the chance to see. But if this was Varda's last film it is and will always be one of her best.
The narrative is relatively simple: a seamless narrative of her life, her achievements leading to becoming a director, artistic influences and love.
And the the charming qualities are of Varda's best: the atmosphere which she creates through her narration and playful aspects - this combination of story telling creates the peaceful connection between viewer and film. By the end of the film the audience can't help but feel as if they are part of Varda's family - and feel somehow connected with her life and her passion for art. It must be said however that the film is not for all and is still reminiscent of Varda's early French new wave, which is retained throughout the entire film.

B. 'Fellini' Rider

Bad lietenant revisited

2010-06-03T05:23:00.000-07:00

Hi there again,
Today i managed to convince friends to watch the mad art house werner herzog's new film - 'bad lietenant...' - and much to my pleasure they both enjoyed the film for its humour, a post-kinskiesque homages and extreme close ups spaning angry and happy faces, as well as the drama and challeging closure offered by the film. Guaranteeing a success in expanding the experience of cinema with others, and their introduction to 'the thinkers' films.

B. 'fellini' Rider

Cannes film festival 2010

2010-05-23T12:24:00.001-07:00

MobilePhone Upload

Hi there again,
Altough this message is not a review, nor is it a summary of the cannes film festival of 2010; it is rather a thrill to hear of binoche's award for abbas k's new film, 'buitiful' and its award to javier bardem, the palme d'or winner by a thai filmmmaker's whose narrative features of a dying man being visited by his lost family. This year's cannes festival was lead by tim burtan and by the looks of the exciting line up i can't wait to see these upcoming films.

For more details visit:
http://news.bbc.co.uk/1/mobile/entertainment/8699394.stm?SThisEM
Or the cannes film festival website.

B. 'fellini rider

Werner Herzog - 'The Bad Lieutenant: Port of Call - New Orleans'

2010-05-22T03:54:00.000-07:00

Hi there again,

Recently I returned to the 'craftsman' poet of cinema, both out of intrigue as every fan will know - you never tire of Herzog gossip and slow films which are etched with the art of living, life and well death. My passion for film started when I was much younger, originally I wanted to be an animator for Disney, then I considered the possibility of becoming an actor or producer, finally I considered the role of director and have since wished to be the story teller; Herzog is both an inspiration and an evocative persona as an outstanding and obviously well celebrated within the community of European film lovers.

Furthermore, I first discovered 'Aguirre: The Wrath Of God' (1972) and there is no doubt in its seamless magic, the film uses its hypnotic techniques as a tool to lure the audience and captivate any viewer to a land and time unaffected by economical restrictions but rather the morals behind each and every character within this masterpiece. And without mention Kinski plays a classic duo with Herzog, never minding the close-ups and chasing his dreams which only lead to a group of monkey's.

But this is not the reason for today's post, but rather to celebrate my viewer-ship of Herzog's 'latest' (not accounting for My Son My Son what have ye done, which is yet to be released in the UK); and viewed 'The Bad Lieutenant: Port of Call - New Orleans'.

'The Bad Lieutenant: Port of Call - New Orleans' 2009

There is no doubt that the film at heart is a film Noir, using its spectators gaze through the camera as an opportunity to shy light and zoom in on slimy animals which move thorough LA (both lizards and people), but the film isn't a one stop happy-gun trigger figment but rather a Herzog 'adaptation' (not a remake as Herzog claimed to have not seen the original).

The film balances its story through a nice pace of comedy and similarly uses its cast as far as Herzog can stretch them, Eva Mendes stars as a prostitute and is presented through a variety of silent scenes with which Herzog navigates the viewer through her eyes and overall facial reacion; whilst Nicholas Cage wavers his voice at top gun, laughing and yelling various 'classic lines' which in years to come will be top film quotes.

It must be noted that Herzog's work hasn't ages, many have described this film as his 'selling out' tune - but I rather would like to argue that Herzog has begun a reinvention of what Hollywood can manage, making an artistic film which invited unusual film fans.

Although the narrative continues into an abyss of 'bad acts' the character we relate to is not bad but rather within a bad environment which manages to allow the audience to love him whilst hate him, this to me is the relation which 'Sight and Sound' found with Cage's performance: a multi layered facet which becomes art on screen.

I originally looked forward to Herzog's Lynch collaboration, for various reasons: cast, crew, genre... but knowing that both films were made in the same year - and the year I had the honour of meeting him at the BFI, I can only imagine that his other film is of the same quality as 'The Bad Lieutenant: Port of Call - New Orleans' is and will cherish his next projects... as they seem to only get better, bigger and sharper.

If someone was to ask what will make cinema immortal, some might say 'Jean Luc-Godard' or 'Steven Spielberg', I will beg to differ! 'Werner Herzog' is the film maker I will back for the time and I believe that even his smallest films to his biggest will be forever remembered and can only make any viewer richer with knowledge.

B. Fellini Rider

Nancy Meyers - 'It's Complicated'

2010-05-21T08:14:00.000-07:00

Hi there again,

Very often cinema invites are hailed as short trips for a comedic rom-com with a list of stars and various hopefuls. Like most I tend to end up seeing these films with other people, and do not find these films myself but rather watch it because it is a kind of 'general group activity'. In an ironic formality meeting an element of the uses and gratifications theory. But then all art gallery's are in public and so are music halls... So without a fail I sat down to watch another Meryl Streep film this month with the hopes it will be entertaining at the least.

'It's Complicated' 2009

The films narrative is relatively simple, and every trailer gives the cookie-cut story about relationships in the 21st century. The film develops steadily through a patient cast whilst jokes and overall pleasing 'set ups' by Meyer deliver their humour.

The film ultimately does not require its strong holding narrative nor does it rely on its skill of MTV type cuts between reacting characters and the male/female gaze been toyed with; but rather uses its cast skill fully and delivers a satisfactory drama hidden behind its comedic genre exterior, the film remains entertaining in its entire and will be enjoyed through the ages.

As performances go, the film reveals the usual comedy timing skills found in Meyer's previous hit 'The Holiday', 'What Women Want' and 'The Parent Trap'; however unlike her earlier work Meyer has used a hand picked lot of older actors and deals with a different type of relationship - rather than the previous getting together/falling in love again the film features a serious tone of modern tempers, divorce and a family whose experiences of life have been forced upon by a generation whose next goal is retirement.

For this, without giving away the end, the actors: Meryl Streep, Steve Martin and Alec Baldwin deliver top trumps and 'hold on to' any viewer willing to participate in the film magic.

Film 4/5

B.'Fellini' Rider

Spike Jonez - 'Where the Wild Things Are'

2010-05-11T09:16:00.000-07:00

Hi there again,

Spike Jonez has been a favourite film maker of mine for quite some time now; his films include: 'Being John Malkovich', 'Adaptation' and the numerous adverts and shorts which never cease to amaize and intrigue. So, without any doubt with the release of a new feature film (his first in seven years) on to DVD this Monday I purchased it with haste.

Without mentioning the film yet the significance of Jonez to this 'project' of mine is important, as I traditionally do not like Independent American cinema - especially ones which pretend to be independently made whilst clearly being 'manufactured' with a clear profit margin - providing a host of small cameos, expensive actors and the odd cinematic CGI effect of modern day Hollywood... making Jonez part of the category is unkind, especially as it works so well for him, and perhaps the only flaw I have found so far is the speed with which he produces his films.

'Where the Wild Things Are' 2009

Spike Jonez adapts Maurice Sendak's popular children's book, that alone is not a selling point for adults, however will captivate those who grew up with the book; so initially on first appearances the film is that of a child's and ultimately will be a creative 'PG' with the slight touch of terror and a moral message. Right?

How wrong could I be!

Yes the film defiantly is targeted to kids and would ultimately captivate their interest, however it is not the only audience kept in mind whilst this film was made, its a creative project as I suggested above but is not a direct 'adaptation' from image to image, Jonez develops his film into a tour-de-force of childhood and teases all spectators with imagination, loneliness and bullying.

But the film does not concentrate only on the 'gritty' social hysterics of the 20th century, it rather spills in a modern combat of: single parenting, global warming and war.

The film uses the opening fifteen minutes as a tool of allowing audiences to identify with Max, we follow him build an Iglo type ice 'home', throw snow balls at people - who then attack him, ran riot with his pet dog and intimidate his mother, who is not communicating with him properly.

It is after this panic filled opening with which the film shifts to dream land, Max meets 'creatures', which in the title are identified as 'the wild things', and is crowned king among their community. He then attempts to bring happiness to their lives, and from here on the film becomes an uncharted ground of thrills from slap-stick comedy, brilliant tracks within the soundtrack and dark mood swings among the group.

The sentimental credit here is of a reminiscent memory and experience of childhood, making the film fresh and a joy to experience!

For its humour and jolt of human drama as a spectator of the audience I fell to its traps and to its emotional teases, evidently finding a simple scene with Max and his mother at the end of the film a slight 'tear jerker' as some would define it.

DVD:

The films extras feature a few 'Jonez' comedy type, pranks on certain crew members and kids running around - each one cracking a smile across your face.

They all feature short run times but are all snappy!

In short: 'Loved it! highly recommendable.'

Film: 5/5

DVD Extras: 4/5

B. 'Fellini' Rider

Agnès Varda - 'Lions Love (and Lies)'

2010-05-10T07:57:00.000-07:00

Hi there again,

First off I admit that this blog is not a film which I have experienced since writing the first entry - 'Julie and Julia'; however it is one which I feel does not receive a critical acceptance within Varda's work let alone in its preservation (it is yet to be released on DVD by Artificial eye), however like most of Varda's work it remains a handful of charms and ultimately pleases as much as it could for its subject matter.

When I saw the film on Thursday the 6th of May I had the joy of both seeing it in the NFT1 of the BFI as well as having the company of Varda for a post-screening interview. Varda herself is an entertaining master, her use of language, comic persona and willing to facilitate hungry fans was unlike others and serves as an extra for her wit found in her films.

Now to the review:

'Lions Love (And Lies)' 1969

The film serves as a tribute as much as a mockery of Warhol's 'Superstars', like his work and that of the American art wave of the period the film is entirely improvised, the dialogue changing between a variety of social/religious/political statements, such as the readings of Bible extracts in mockery and comedic costumes, and the poetic tongue which is present in the majority of all of Varda's work; probably it is the poetry regarding stardem which provokes the most emotions, such as the scene in which Viva states 'No one loves me. No one loves me!' (when clearly it is her ego provoked by the media which is speaking at that current moment).

However Varda does not become a die-hard fan of Warhol's technique through-and-through, she still maintains a level of narrative points, her play full reassurance to characters within the scenes, such as the attempted suicide which she decides to act as Shirley Clarke is unable to do so. Only to be replaced once more on screen by Clarke in a kind of Brecht 4th wall.

The narrative is simple at the start: a play interrupted by Warhol stars arriving at the end of 'The Beard', audiences dazzled by their presence and furthermore a night scene following this one in the apartment with which the actors self-indulge one another in telling one another they 'love' one another. However for all the fun and games the film takes a heavy shift with the series of death themes, the shooting of Kennedy, Warhol and pill popping by Clarke ultimately moves the audience to a dream world of 'what was' life like when the stars were free of emotional response.

The film ends with a shocking set of non-monologues, a kind of homage if you like - the most memorable of them all is Viva's, with which she states that she hates monologues which are pointless, and simply breathes for several minutes in a tight close-up as Varda in the background counts down her time. It is this playful mixture of 'Love' and cinematic 'Lies' being reduced by the film-maker which both excite and allow the audiences to dream steadily with, making the film a set piece of atmospheric tones.

B 'Fellini' Rider

'Julie And Julia' - The first Blog

2010-05-09T13:15:00.000-07:00

Hi there,

Well I would like to start this Blog by perhaps simply stating the 'clear of day' obvious - I have never written a blog before, and in reflection have never really read anyone's either; perhaps the odd entry from a random collection.

However perhaps less history will do me well, I am an avid fan of film, it would be unfair to declare myself a fan of all film but I would like to think that even with the most disliked genres of mine there are a few favourites. And I am always willing to give a go to any film.

The reason for this blog however is a small spark of inspiration from 'Julie and Julia', whose lead character devises a plan of covering a cookery book whilst writing a blog about it. Well in a similar ground I am hoping to maintain this blog, record my experiences of film - which on average work out to be two films a week and simply publish what I think of them...

so here goes, the first film to be featured:

'Julie and Julia' 2009

To start off it would be terribly inappropriate not to mention why I decided to watch this film, it was a balance of having the family environment of watching the film and the obvious guarantee of Meryl Streep throwing a few smiles on screen. But this film was not just a bag full of: light hearted smiles, young actors appearing alongside a charming successor and an adaptation of two novels into one film. It was a sweet and sour film, it defiantly charms its audience with a fine variety of comedic moments, such as the stereotypes of American/French culture, political snaps among the 'adults', the act of blogging, married life and most importantly the joy of life presented by Nora Ephron with soft photography: Food.

It is hard to avoid the thought of eating (food consumption or the sweet mouthfuls so badly wanted from the cakes!) whilst watching this new gem, I luckily committed a cinematic sin and ate dinner whilst watching the film - however the result was great and prevented an inevitable hunger.

The film breezed through its narrative, jumping back and front between the near-to-present 2002 of Julie Powell and 1960's of Julia Child, its this liaison of cultural behaviour facing changes (Child beginning to cook when women didn't professionally in France, and Powell's attempts at finding a passion for writing) which created a pleasant atmosphere which carried until the end, through the film however an underlying current of the dark side of humanity - Child's absence of motherhood and Powell's hope of being accepted by her mother, and herself most importantly - is present, and it ultimately brings about the change in the character's individual perceptions which ends the film.

B 'Fellini' Rider