list http://www.spout.com/ Recent community activity around The Lives of Others on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Lives_of_Others/281881/default.aspx Title: The Lives of Others
Year: 2007
Director: Florian Henckel von Donnersmarck
Plot: East Germany’s notorious Stasi conducted endless surveillance on the country’s domestic population, rooting out so-called “enemies of socialism” while generating a paralyzing, Kafkaesque atmosphere of paranoia and dread. Writer-director Florian Henckel von Donnersmarck’s stunning debut follows as the oppressive system consumes one of its own. Weisler (Ulrich Mühe), a Stasi agent and true believer, is assigned by corrupt party hacks to observe and investigate Dreyman (Sebastian Koch), a successful playwright. His investigation leads him in turn to Dreyman’s girlfriend Christa (Martina Gedeck), a tormented, power-hungry actress. The unintended consequences of Weisler’s discoveries mount up relentlessly as he learns more about the politicians who misuse the secrets he gathers. A gripping thriller and a vivid reconstruction of a vanished historical epoch, LIVES above all is a fascinating and timeless character study of a lost soul pulled back into the real world. –LG (Germany, 2006, 137m)
Times Tagged: 60
Number of Lists: 40
Number of blog posts: 10
Number of discussion threads: 8
SpoutRating: 4
]]>Fri, 07 Aug 2009 22:17:12 GMTThe Lives of Others2007Florian Henckel von DonnersmarckEast Germany’s notorious Stasi conducted endless surveillance on the country’s domestic population, rooting out so-called “enemies of socialism” while generating a paralyzing, Kafkaesque atmosphere of paranoia and dread. Writer-director Florian Henckel von Donnersmarck’s stunning debut follows as the oppressive system consumes one of its own. Weisler (Ulrich Mühe), a Stasi agent and true believer, is assigned by corrupt party hacks to observe and investigate Dreyman (Sebastian Koch), a successful playwright. His investigation leads him in turn to Dreyman’s girlfriend Christa (Martina Gedeck), a tormented, power-hungry actress. The unintended consequences of Weisler’s discoveries mount up relentlessly as he learns more about the politicians who misuse the secrets he gathers. A gripping thriller and a vivid reconstruction of a vanished historical epoch, LIVES above all is a fascinating and timeless character study of a lost soul pulled back into the real world. –LG (Germany, 2006, 137m)60Tag Target (>10)401084http://www.spout.com/ProductImages/s281881.jpghttp://www.spout.com/films/The_Lives_of_Others/281881/default.aspxFilm http://www.spout.com/groups/Community_Recommendations/Re_Historical_Drama/643/39309/1/ShowPost.aspx Post By: seely
Post To: Community Recommendations
Post Date: 1/9/2009 12:22:05 PM
Body: I was recently introduced to a historical drama that I had completely missed. Clocking in at an epic 137 minutes, I was less than thrilled to sit down and watch it, but The Lives of Others turned out to be an instant favorite for me. I liked it because as with most historical dramas I've enjoyed, it deals more with the people and relationships than the history, while still be set in a very historical context (communist Germany, before the wall fell). It's a pretty moving and endearing story, well written and acted. It seems to have a lot of historical accuracy too as it was based on a true story with from what I've heard are only relatively minor changes to the actual events.
]]>Fri, 09 Jan 2009 17:22:05 GMTseelyCommunity Recommendations1/9/2009 12:22:05 PMI was recently introduced to a historical drama that I had completely missed. Clocking in at an epic 137 minutes, I was less than thrilled to sit down and watch it, but The Lives of Others turned out to be an instant favorite for me. I liked it because as with most historical dramas I've enjoyed, it deals more with the people and relationships than the history, while still be set in a very historical context (communist Germany, before the wall fell). It's a pretty moving and endearing story, well written and acted. It seems to have a lot of historical accuracy too as it was based on a true story with from what I've heard are only relatively minor changes to the actual events. http://www.spout.com/groups/Community_Recommendations/Re_Collaboration_Best_Films_of_2007/643/37963/1/ShowPost.aspx Post By: mciocco
Post To: Community Recommendations
Post Date: 12/4/2008 5:04:55 PM
Body: I had a little trouble compiling this list last year, but overall I'm pretty happy with it. The only one that I thought about changing in retrospect was Zodiac, which I'd take off the list in favor of Black Book, which has grown on my in hindsight. But for now, I'll leave it the way it is. My top 10 films of 2007...in roughly reverse order (i.e. with the best at the bottom of this list) : Zodiac: This one barely makes it on this list. It's one of the few early year releases that has made it on the list, and as such, it's something I actually want to revisit. But of all the early year films I saw, I remember this being the most interesting and best made. If you know about the Zodiac killer, you know the ending won't provide any real explanations (nor should it) as the killer was never caught in real life. As such, this does diminish some of the tension from the film. Still, director David Fincher has made an impeccable film. It's not as showy or spectacular as his previous efforts. Stylistically, it's rather straightforward, and yet, it's a gorgeous film to look at, and Fincher does manage to imbue some tension throughout the film, which focuses more on the obsession of those trying to find the Zodiac than the Zodiac himself. Gone Baby Gone: It basically starts out as a straightforward crime thriller and mystery and those elements are very well done. But the ending introduces a moral dilemma that has no good answers. You can't help but put yourself into the movie and think about what you would do in such a case, and to be honest, I don't know what I'd do. I suppose I should mention that this is Ben Affleck's directing debut, and he proves shockingly adept at doing so. The Bourne Ultimatum: A fantastic action film, and one of the few sequels worth it's salt in a year of particularly bad sequels. Paul Greengrass' infamous shaky camera is actually put to good use here, and the film also features good performances and great stuntwork. Some may be put off by the camera work, but when you look at a film like this, and then you look at a film like Transformers, you can see a huge difference in style and talent. Superbad: Hands down, the funniest movie of the year. I'm a sucker for raunchy humor with a heart, and this movie has that in spades. Great performances by Jonah Hill and the deadpan Michael Cera, as well as just about everyone else. Of all the movies on this list, this one probably has the most replay value, and is also probably the most quotable. Stardust: This might the most thoroughly enjoyable movie of the year. A great adventure film that evokes The Princess Bride (perhaps unfairly leading to comparisons) while asserting an identity of its own. In a year filled with dark, heavy-hitting dramas, it was nice to sit down to a well done fantasy film. Well directed with good performances (including an unusual turn by Robert DeNiro as a flamboyant pirate) and nice visuals, the real strength of this film is the story, which retains the fun feeling of a fantasy while skirting darker, edgier material. The King of Kong: A Fistful of Quarters: Documentary films don't generally find much of an audience in theaters, but The King of Kong should be in every video game enthusiast's Netflix queue. It delves into the rough and tumble world of competitive video gaming for classic games, particularly Donkey Kong, but it does so kinda like an inspirational sports film. You've got your lovable underdog who has never won anything in his life, and of course the villainous champion who looks down on the underdog and seeks to steal his thunder. There's some controversy over the film, which perhaps takes some liberties with the facts, but it's still a great movie and highly recommended for video game fans. The Orphanage: Certainly the creepiest movie of the year. Though perhaps not exactly a horror film, it establishes a high level of tension all throughout the film, and the story, while a little odd, works pretty well too. A spanish language film that gets unfairly compaired to Pan's Labyrinth, it is nonetheless worth watching for any fan of ghost stories. The Lives of Others: This film actually won the Oscar for best foreign-language film last year (beating out Pan's Labyrinth - a surprise to me), so I might be cheating a bit, but it didn't really have a theatrical release in the U.S. until 2007, so I'm putting it on this list. Set in East Germany during the Cold War, this film follows a Stasi agent who begins to feel for the subjects he's surveiling. It doesn't sound like much, and it's not exactly action-packed, but it is quite compelling and one of the most powerful films of the year. All of the technical aspects of the film are brilliant, especially the script and the nuanced acting by Ulrich Mühe. This film would be amongst the top of any year's list Grindhouse: I'm referring, of course, to the theatrical release of this film. I say this because a lot of critics like to separate the two features and heap praise on Tarantino's Death Proof (which I'll grant, is probably the better of the two, if I were forced to chose), but to me, nothing beats the full experience of the theatrical version. It starts out with a hilarious "fake" trailer, then moves into Robert Rodriguez's Planet Terror, an over=the-top zombie action film done in true grindhouse style (missing reels and all). Following that we get three more absolutely brilliant fake trailers and Tarantino's wonderful Death Proof. The films are dark, they're edgy, and they're probably not for everyone. In attempting to emulate 70s grindhouse cinema, the filmmakers have lovingly reproduced the tropes, some of which may bother audiences (particularly the awkward pacing of both features, which is actuall brilliance in disguise). It's a crime that the theatrical version is not available on DVD. The double-billing was poorly advertised, so it looks like the studio opted to split the films up and give longer cuts of each their own DVD. Supposedly, a 6 disc boxed set containing everything is in the works. No Country for Old Men: The Coen brothers have outdone themselves. This is perhaps a boring pick, as this film is at or near the top of most top 10 lists, but that happened for a reason. It's a great damn film. Gorgeous photography, tension-filled action, and that rare brand of dark humor that the Coens are so good at. It also features the most memorable and terrifying villain in years. The ending is uncompromising and ambiguous (which may turn some viewers off), but I found it quite appropriate. Of all the films this year, this one is best made and most entertaining (if a little dark), a combo that's certainly difficult to pull off. Blatant link whoring: I have a whole slew of honorable mentions, and every year I do a set of awards at my blog, if you're interested...
]]>Thu, 04 Dec 2008 22:04:55 GMTmcioccoCommunity Recommendations12/4/2008 5:04:55 PMI had a little trouble compiling this list last year, but overall I'm pretty happy with it. The only one that I thought about changing in retrospect was Zodiac, which I'd take off the list in favor of Black Book, which has grown on my in hindsight. But for now, I'll leave it the way it is. My top 10 films of 2007...in roughly reverse order (i.e. with the best at the bottom of this list) : Zodiac: This one barely makes it on this list. It's one of the few early year releases that has made it on the list, and as such, it's something I actually want to revisit. But of all the early year films I saw, I remember this being the most interesting and best made. If you know about the Zodiac killer, you know the ending won't provide any real explanations (nor should it) as the killer was never caught in real life. As such, this does diminish some of the tension from the film. Still, director David Fincher has made an impeccable film. It's not as showy or spectacular as his previous efforts. Stylistically, it's rather straightforward, and yet, it's a gorgeous film to look at, and Fincher does manage to imbue some tension throughout the film, which focuses more on the obsession of those trying to find the Zodiac than the Zodiac himself. Gone Baby Gone: It basically starts out as a straightforward crime thriller and mystery and those elements are very well done. But the ending introduces a moral dilemma that has no good answers. You can't help but put yourself into the movie and think about what you would do in such a case, and to be honest, I don't know what I'd do. I suppose I should mention that this is Ben Affleck's directing debut, and he proves shockingly adept at doing so. The Bourne Ultimatum: A fantastic action film, and one of the few sequels worth it's salt in a year of particularly bad sequels. Paul Greengrass' infamous shaky camera is actually put to good use here, and the film also features good performances and great stuntwork. Some may be put off by the camera work, but when you look at a film like this, and then you look at a film like Transformers, you can see a huge difference in style and talent. Superbad: Hands down, the funniest movie of the year. I'm a sucker for raunchy humor with a heart, and this movie has that in spades. Great performances by Jonah Hill and the deadpan Michael Cera, as well as just about everyone else. Of all the movies on this list, this one probably has the most replay value, and is also probably the most quotable. Stardust: This might the most thoroughly enjoyable movie of the year. A great adventure film that evokes The Princess Bride (perhaps unfairly leading to comparisons) while asserting an identity of its own. In a year filled with dark, heavy-hitting dramas, it was nice to sit down to a well done fantasy film. Well directed with good performances (including an unusual turn by Robert DeNiro as a flamboyant pirate) and nice visuals, the real strength of this film is the story, which retains the fun feeling of a fantasy while skirting darker, edgier material. The King of Kong: A Fistful of Quarters: Documentary films don't generally find much of an audience in theaters, but The King of Kong should be in every video game enthusiast's Netflix queue. It delves into the rough and tumble world of competitive video gaming for classic games, particularly Donkey Kong, but it does so kinda like an inspirational sports film. You've got your lovable underdog who has never won anything in his life, and of course the villainous champion who looks down on the underdog and seeks to steal his thunder. There's some controversy over the film, which perhaps takes some liberties with the facts, but it's still a great movie and highly recommended for video game fans. The Orphanage: Certainly the creepiest movie of the year. Though perhaps not exactly a horror film, it establishes a high level of tension all throughout the film, and the story, while a little odd, works pretty well too. A spanish language film that gets unfairly compaired to Pan's Labyrinth, it is nonetheless worth watching for any fan of ghost stories. The Lives of Others: This film actually won the Oscar for best foreign-language film last year (beating out Pan's Labyrinth - a surprise to me), so I might be cheating a bit, but it didn't really have a theatrical release in the U.S. until 2007, so I'm putting it on this list. Set in East Germany during the Cold War, this film follows a Stasi agent who begins to feel for the subjects he's surveiling. It doesn't sound like much, and it's not exactly action-packed, but it is quite compelling and one of the most powerful films of the year. All of the technical aspects of the film are brilliant, especially the script and the nuanced acting by Ulrich Mühe. This film would be amongst the top of any year's list Grindhouse: I'm referring, of course, to the theatrical release of this film. I say this because a lot of critics like to separate the two features and heap praise on Tarantino's Death Proof (which I'll grant, is probably the better of the two, if I were forced to chose), but to me, nothing beats the full experience of the theatrical version. It starts out with a hilarious "fake" trailer, then moves into Robert Rodriguez's Planet Terror, an over=the-top zombie action film done in true grindhouse style (missing reels and all). Following that we get three more absolutely brilliant fake trailers and Tarantino's wonderful Death Proof. The films are dark, they're edgy, and they're probably not for everyone. In attempting to emulate 70s grindhouse cinema, the filmmakers have lovingly reproduced the tropes, some of which may bother audiences (particularly the awkward pacing of both features, which is actuall brilliance in disguise). It's a crime that the theatrical version is not available on DVD. The double-billing was poorly advertised, so it looks like the studio opted to split the films up and give longer cuts of each their own DVD. Supposedly, a 6 disc boxed set containing everything is in the works. No Country for Old Men: The Coen brothers have outdone themselves. This is perhaps a boring pick, as this film is at or near the top of most top 10 lists, but that happened for a reason. It's a great damn film. Gorgeous photography, tension-filled action, and that rare brand of dark humor that the Coens are so good at. It also features the most memorable and terrifying villain in years. The ending is uncompromising and ambiguous (which may turn some viewers off), but I found it quite appropriate. Of all the films this year, this one is best made and most entertaining (if a little dark), a combo that's certainly difficult to pull off. Blatant link whoring: I have a whole slew of honorable mentions, and every year I do a set of awards at my blog, if you're interested... http://www.spout.com/blogs/atacta/archive/2008/11/28/37718.aspx Post By: atacta
Post To: atacta Blog
Post Date: 11/28/2008 3:59:44 PM
Body: A companion piece to Black Book only for the significant contribution of Sebastian Koch as Georg Dreyman. But Ulrich Mühe takes the film and its heart. In a way Hauptmann Gerd Wiesler is a poor man's Oskar Schindler but in this case - he is a champion of the arts first. The production values on the film are first rate (filmed in David Fincher greens ala Zodiac) and the palpable fear of 1980s East Germany is brilliantly portrayed. Back to Black Book. The story concerns the totalitarian state in its last phase just as in Black Book's Nazi Holland.The story of Surveillance harkens back to The Conversation in the way it affects the lives of those on both sides of the table. Earlier this week 'name the plot game' had this as the answer but could have very well been The Conversation.The only weakness in the film is the pat way Wiesler is dismissed at the end.Really enjoyed this film and Ulrich Mühe's performance is fantastic. The Conversation (1974)
]]>Fri, 28 Nov 2008 20:59:44 GMTatactaatacta Blog11/28/2008 3:59:44 PMA companion piece to Black Book only for the significant contribution of Sebastian Koch as Georg Dreyman. But Ulrich Mühe takes the film and its heart. In a way Hauptmann Gerd Wiesler is a poor man's Oskar Schindler but in this case - he is a champion of the arts first. The production values on the film are first rate (filmed in David Fincher greens ala Zodiac) and the palpable fear of 1980s East Germany is brilliantly portrayed. Back to Black Book. The story concerns the totalitarian state in its last phase just as in Black Book's Nazi Holland.The story of Surveillance harkens back to The Conversation in the way it affects the lives of those on both sides of the table. Earlier this week 'name the plot game' had this as the answer but could have very well been The Conversation.The only weakness in the film is the pat way Wiesler is dismissed at the end.Really enjoyed this film and Ulrich Mühe's performance is fantastic. The Conversation (1974) http://www.spout.com/groups/Top_5/Re_Depressing_holidays_dysfunctional_families_fo/190/37287/1/ShowPost.aspx Post By: STEPHENtheDIRECTOR
Post To: Top 5
Post Date: 11/13/2008 4:38:42 PM
Body: Depressing holidays: Pieces of April The Ice Storm Groundhog Day The Apartment Planes, Trains & Automobiles Dysfunctional Families: Pieces of April The Royal Tenebaums Psycho Happiness Running With Scissors Most Accessible Foreign Films: Amelie Night Watch Run Lola Run The Lives of Others Pan's Labyrinth
]]>Thu, 13 Nov 2008 21:38:42 GMTSTEPHENtheDIRECTORTop 511/13/2008 4:38:42 PMDepressing holidays: Pieces of April The Ice Storm Groundhog Day The Apartment Planes, Trains & Automobiles Dysfunctional Families: Pieces of April The Royal Tenebaums Psycho Happiness Running With Scissors Most Accessible Foreign Films: Amelie Night Watch Run Lola Run The Lives of Others Pan's Labyrinth http://www.spout.com/groups/Top_5/Re_Depressing_holidays_dysfunctional_families_fo/190/37174/1/ShowPost.aspx Post By: leeroy711
Post To: Top 5
Post Date: 11/10/2008 10:25:59 PM
Body: [quote user="SkyPilot"] 10 Most Accessible Foreign Language Films of the Last 10 Years** **I had to laugh when Risselada called Amelie the "gateway drug" of foreign films in this Top 5 Overrated Movies discussion. (Hey Rizzo, I can't find that quote now, did you delete it?) [/quote] That was me. I was adding to what Rizzo had allready said something to the effect that Amelie seems to be the movie that people who maybe wouldn't otherwise see foreign movies will cling to as "their favorite foreign film" So........... with that, here's my list: 1. Pan's Labyrinth (2006) 2. Crouching Tiger, Hidden Dragon (2000) 3. Run Lola Run (1998) 4. Amélie (2001) 5. Downfall (2004) 6. The Diving Bell and the Butterfly (2007) 7. The Lives of Others (2006) 8. Night Watch (2004) 9. City of God (2002) 10. Volver (2006)
]]>Tue, 11 Nov 2008 03:25:59 GMTleeroy711Top 511/10/2008 10:25:59 PM[quote user="SkyPilot"] 10 Most Accessible Foreign Language Films of the Last 10 Years** **I had to laugh when Risselada called Amelie the "gateway drug" of foreign films in this Top 5 Overrated Movies discussion. (Hey Rizzo, I can't find that quote now, did you delete it?) [/quote] That was me. I was adding to what Rizzo had allready said something to the effect that Amelie seems to be the movie that people who maybe wouldn't otherwise see foreign movies will cling to as "their favorite foreign film" So........... with that, here's my list: 1. Pan's Labyrinth (2006) 2. Crouching Tiger, Hidden Dragon (2000) 3. Run Lola Run (1998) 4. Amélie (2001) 5. Downfall (2004) 6. The Diving Bell and the Butterfly (2007) 7. The Lives of Others (2006) 8. Night Watch (2004) 9. City of God (2002) 10. Volver (2006) http://www.spout.com/blogs/smooth_j/archive/2008/8/30/34554.aspx Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 8/30/2008 1:14:44 PM
Body: "Sex and politics are on full boil!" NY Times "Its sex scenes are mini revolutions!" Guardian "I got a boner--from all the sex!" TVs Fred Savage, DGA nominee That is the first impression that the viewer of Summer Palace is supposed to receive. A hot-seat, glorified porno, and that's mostly what the film is. However, it's a bit more high-class than that: Lou Ye has a better eye for photography than your average porno auteur, and he manages to meld the debauchery with political events, whether or not his characters (that happen to be having sex at the time) know what the hell is going on. I actually liked the film. While the running time was a bit on the long-side, and certain scenes were way too brooding and self-important, there were frequent shines of brilliance in Lou Ye's direction. The story involves a girl named Yu Hong from a small Chinese town, who is introduced as being strange and strong-willed and in a passionate romance with her boyfriend. Just as soon as she sleeps with him in a "lyrical love scene" in the middle of a field, she says that she's leaving him and going to school in Beijing. Cut to: Beijing, where disaffected youth smoke like chimneys and have intellectual discussions in their dorm rooms, all the while having an interest in the opposite sex that can only be described as juvenile. There are long, LONG shots of the heroine's face as she stares down her love interest, Zhou Wei, and establishes an obviously otherworldly mind-connection with him, because those scenes and their wonderfully photographed sex-scenes are really the only connection that they seem to have. This is the one issue I had with the film--while everything looks beautiful, passionate, and melancholy, there doesn't seem to be much substance behind Yu's and Zhou's relationship. We're meant to think there is, and there quite possibly may be, but there is not much evidence of it. Eventually, the students become wise to this whole "communist government" thing and begin to stage huge protests, to which Yu and her female friends seem to know nothing about. The depiction of Tiananmen Square is incredibly effective: Yu seems to drift through the endless throngs of people, in a haze, an outsider trapped in something that she cannot escape from. While at many points the movie seems to be masquerading as something much more important than it really is, this scene is perfect. Soon after these protests, and in the format of any sweeping love story, Yu and Zhou are inevitably separated by the forces that brought them together and eventually reunited and need to decide whether their love has lasted. In general story arch, the film is undeniably conventional. It's Lou Ye's outstanding direction that makes the film good. His eye for gorgeous, continuous shots is unprecedented--I could have fallen for the film after the club scene very early in the film, in which corny pop music is playing and Ye deftly maneuvers his camera to view all parts of the club, while still focusing mostly on Yu's and Zhou's connection. There is a very French, new-wave feel to it, while still capturing the lyricism of truly Asian art. The ending is a perfect illustration of this: it is beautiful, it is ambiguous, and it is heartbreaking. (Minus the cheesy, indulgent mini-bios of the character's lives after the film's events--do yourself a favor and press STOP right after the film starts to fade out.) I stated earlier in my review that Summer Palace is a glorified porno, and that is an exaggeration. While there are about 10 sex scenes, including scenes in a field, in a hallway of a public establishment, and in three or four different bedrooms with all manner of partner pairings, it really is not as bad as you'd think from reading the DVD case. The film would most likely merit an NC-17 rating, but I'm not one to judge. (The Diving Bell and the Butterfly is PG-13, and there are full nudity shots in it.) However, the sex scenes really do serve a purpose. Most of the dialogue between lovers consists of very generic, simple sentences, including "What now?", "What's wrong?", "Do you love me?", etc. The real passion is established through the imagery, through the feelings evoked by the director's style, and most noticeably through the outstanding music. The score really is a marvel, though I've heard it criticized as being "atrocious and cliched," two of the last words that came to my mind. The sex scenes only add to the poetic fervor of the character's and of the film itself. Unless the Chinese government is exceptionally stupid (which is more than possible), I would venture to guess that the banning was on account of the sexual liberty shown in the film. The subplot of political activism and unrest really felt forced, with no real connection to the character's other than their newfound "free-love" feelings, which are revolutionary at this time in China. I couldn't help but comparing the backdrop to Forrest Gump's backdrop of several generations of political and social turmoil--but while in Forrest Gump, the political commentary added to hilarity (I don't care what people say about that movie), in Summer Palace it only slows down the plot, especially in a God-awful transition montage around the film's halfway point. As I previously mentioned, the only scene of relevance is the Tiananmen Square sequence. Another film that is pretty connected in subject matter is Germany's The Lives of Others, a far superior film, demonstrating East Germany's secret police's invasion of privacy and censorship while trying to catch a pair of stage actors who infuse their plays with political satire. However, that is more of a morality tale than a romance, and Summer Palace is almost strictly romance with attempted undertones of political importance. Once again, I have found myself picking apart and bringing down a film that I actually enjoyed. I didn't love it, since it has its obvious flaws, but it is a good movie, and an excellently photographed one. If you're easily offended by full-frontal nudity and gratuitous sex, you might do best to steer away from this one. But it is a decent, lyrical love story from a very talented director. Its hot-seat political significance should really only be remembered for the reaction of the Chinese government.
]]>Sat, 30 Aug 2008 17:14:44 GMTSmooth_JSmooth_J Blog8/30/2008 1:14:44 PM"Sex and politics are on full boil!" NY Times "Its sex scenes are mini revolutions!" Guardian "I got a boner--from all the sex!" TVs Fred Savage, DGA nominee That is the first impression that the viewer of Summer Palace is supposed to receive. A hot-seat, glorified porno, and that's mostly what the film is. However, it's a bit more high-class than that: Lou Ye has a better eye for photography than your average porno auteur, and he manages to meld the debauchery with political events, whether or not his characters (that happen to be having sex at the time) know what the hell is going on. I actually liked the film. While the running time was a bit on the long-side, and certain scenes were way too brooding and self-important, there were frequent shines of brilliance in Lou Ye's direction. The story involves a girl named Yu Hong from a small Chinese town, who is introduced as being strange and strong-willed and in a passionate romance with her boyfriend. Just as soon as she sleeps with him in a "lyrical love scene" in the middle of a field, she says that she's leaving him and going to school in Beijing. Cut to: Beijing, where disaffected youth smoke like chimneys and have intellectual discussions in their dorm rooms, all the while having an interest in the opposite sex that can only be described as juvenile. There are long, LONG shots of the heroine's face as she stares down her love interest, Zhou Wei, and establishes an obviously otherworldly mind-connection with him, because those scenes and their wonderfully photographed sex-scenes are really the only connection that they seem to have. This is the one issue I had with the film--while everything looks beautiful, passionate, and melancholy, there doesn't seem to be much substance behind Yu's and Zhou's relationship. We're meant to think there is, and there quite possibly may be, but there is not much evidence of it. Eventually, the students become wise to this whole "communist government" thing and begin to stage huge protests, to which Yu and her female friends seem to know nothing about. The depiction of Tiananmen Square is incredibly effective: Yu seems to drift through the endless throngs of people, in a haze, an outsider trapped in something that she cannot escape from. While at many points the movie seems to be masquerading as something much more important than it really is, this scene is perfect. Soon after these protests, and in the format of any sweeping love story, Yu and Zhou are inevitably separated by the forces that brought them together and eventually reunited and need to decide whether their love has lasted. In general story arch, the film is undeniably conventional. It's Lou Ye's outstanding direction that makes the film good. His eye for gorgeous, continuous shots is unprecedented--I could have fallen for the film after the club scene very early in the film, in which corny pop music is playing and Ye deftly maneuvers his camera to view all parts of the club, while still focusing mostly on Yu's and Zhou's connection. There is a very French, new-wave feel to it, while still capturing the lyricism of truly Asian art. The ending is a perfect illustration of this: it is beautiful, it is ambiguous, and it is heartbreaking. (Minus the cheesy, indulgent mini-bios of the character's lives after the film's events--do yourself a favor and press STOP right after the film starts to fade out.) I stated earlier in my review that Summer Palace is a glorified porno, and that is an exaggeration. While there are about 10 sex scenes, including scenes in a field, in a hallway of a public establishment, and in three or four different bedrooms with all manner of partner pairings, it really is not as bad as you'd think from reading the DVD case. The film would most likely merit an NC-17 rating, but I'm not one to judge. (The Diving Bell and the Butterfly is PG-13, and there are full nudity shots in it.) However, the sex scenes really do serve a purpose. Most of the dialogue between lovers consists of very generic, simple sentences, including "What now?", "What's wrong?", "Do you love me?", etc. The real passion is established through the imagery, through the feelings evoked by the director's style, and most noticeably through the outstanding music. The score really is a marvel, though I've heard it criticized as being "atrocious and cliched," two of the last words that came to my mind. The sex scenes only add to the poetic fervor of the character's and of the film itself. Unless the Chinese government is exceptionally stupid (which is more than possible), I would venture to guess that the banning was on account of the sexual liberty shown in the film. The subplot of political activism and unrest really felt forced, with no real connection to the character's other than their newfound "free-love" feelings, which are revolutionary at this time in China. I couldn't help but comparing the backdrop to Forrest Gump's backdrop of several generations of political and social turmoil--but while in Forrest Gump, the political commentary added to hilarity (I don't care what people say about that movie), in Summer Palace it only slows down the plot, especially in a God-awful transition montage around the film's halfway point. As I previously mentioned, the only scene of relevance is the Tiananmen Square sequence. Another film that is pretty connected in subject matter is Germany's The Lives of Others, a far superior film, demonstrating East Germany's secret police's invasion of privacy and censorship while trying to catch a pair of stage actors who infuse their plays with political satire. However, that is more of a morality tale than a romance, and Summer Palace is almost strictly romance with attempted undertones of political importance. Once again, I have found myself picking apart and bringing down a film that I actually enjoyed. I didn't love it, since it has its obvious flaws, but it is a good movie, and an excellently photographed one. If you're easily offended by full-frontal nudity and gratuitous sex, you might do best to steer away from this one. But it is a decent, lyrical love story from a very talented director. Its hot-seat political significance should really only be remembered for the reaction of the Chinese government. http://www.spout.com/groups/Movie_Games/Re_Cause_Effect/598/33823/1/ShowPost.aspx Post By: leeroy711
Post To: Movie Games
Post Date: 8/10/2008 4:51:12 PM
Body: [quote user="unclefestering"] [quote user="leeroy711"] The Russian Navy refuses to fire on the Battleship Potemkin. Lenin uses the Battleship Potemkin story to fuel the October revolution of 1917 which puts power in the hands of the Bolsheviks. They form the Soviet Union, which Stalin takes control over. After WWII, the USSR takes over East Germany. The communist state of East Germany (later declared sovereign by USSR) creates the Stasi (secret police of East Germany) dissenters of the State and the Socialist Unity Party were questioned, jailed and/or beaten until the accusers heard what the wanted to hear such as in the film, The Lives Of Others. Allright so, you could have probably fit about 2 or 3 movies in between those two but I would say this was a pretty good example of cause and effect. [/quote] I would prefer to see the upside of cause and effect in this situation: The Lives of Others shows the enormous overhead that the East German government has to deal with in order keep its citizens under constant control bankrupts the country and forces the government to fall and gives its people true, capitalist freedoms, although some perfer to dream of a perfect socialist society in Good Bye, Lenin!. [/quote] I thought of including that one too. I loved Good Bye Lenin!. We could just make an entire cause & effect time line starting with Battleship Potemkin and Strike and ending with Good Bye, Lenin!. That way I could fit all sorts of my favorite movies like The Tunnel in there.
]]>Sun, 10 Aug 2008 20:51:12 GMTleeroy711Movie Games8/10/2008 4:51:12 PM[quote user="unclefestering"] [quote user="leeroy711"] The Russian Navy refuses to fire on the Battleship Potemkin. Lenin uses the Battleship Potemkin story to fuel the October revolution of 1917 which puts power in the hands of the Bolsheviks. They form the Soviet Union, which Stalin takes control over. After WWII, the USSR takes over East Germany. The communist state of East Germany (later declared sovereign by USSR) creates the Stasi (secret police of East Germany) dissenters of the State and the Socialist Unity Party were questioned, jailed and/or beaten until the accusers heard what the wanted to hear such as in the film, The Lives Of Others. Allright so, you could have probably fit about 2 or 3 movies in between those two but I would say this was a pretty good example of cause and effect. [/quote] I would prefer to see the upside of cause and effect in this situation: The Lives of Others shows the enormous overhead that the East German government has to deal with in order keep its citizens under constant control bankrupts the country and forces the government to fall and gives its people true, capitalist freedoms, although some perfer to dream of a perfect socialist society in Good Bye, Lenin!. [/quote] I thought of including that one too. I loved Good Bye Lenin!. We could just make an entire cause & effect time line starting with Battleship Potemkin and Strike and ending with Good Bye, Lenin!. That way I could fit all sorts of my favorite movies like The Tunnel in there. http://www.spout.com/groups/Movie_Games/Re_Cause_Effect/598/33820/1/ShowPost.aspx Post By: unclefestering
Post To: Movie Games
Post Date: 8/10/2008 2:30:17 PM
Body: [quote user="leeroy711"] The Russian Navy refuses to fire on the Battleship Potemkin. Lenin uses the Battleship Potemkin story to fuel the October revolution of 1917 which puts power in the hands of the Bolsheviks. They form the Soviet Union, which Stalin takes control over. After WWII, the USSR takes over East Germany. The communist state of East Germany (later declared sovereign by USSR) creates the Stasi (secret police of East Germany) dissenters of the State and the Socialist Unity Party were questioned, jailed and/or beaten until the accusers heard what the wanted to hear such as in the film, The Lives Of Others. Allright so, you could have probably fit about 2 or 3 movies in between those two but I would say this was a pretty good example of cause and effect. [/quote] I would prefer to see the upside of cause and effect in this situation: The Lives of Others shows the enormous overhead that the East German government has to deal with in order keep its citizens under constant control bankrupts the country and forces the government to fall and gives its people true, capitalist freedoms, although some perfer to dream of a perfect socialist society in Good Bye, Lenin!.
]]>Sun, 10 Aug 2008 18:30:17 GMTunclefesteringMovie Games8/10/2008 2:30:17 PM[quote user="leeroy711"] The Russian Navy refuses to fire on the Battleship Potemkin. Lenin uses the Battleship Potemkin story to fuel the October revolution of 1917 which puts power in the hands of the Bolsheviks. They form the Soviet Union, which Stalin takes control over. After WWII, the USSR takes over East Germany. The communist state of East Germany (later declared sovereign by USSR) creates the Stasi (secret police of East Germany) dissenters of the State and the Socialist Unity Party were questioned, jailed and/or beaten until the accusers heard what the wanted to hear such as in the film, The Lives Of Others. Allright so, you could have probably fit about 2 or 3 movies in between those two but I would say this was a pretty good example of cause and effect. [/quote] I would prefer to see the upside of cause and effect in this situation: The Lives of Others shows the enormous overhead that the East German government has to deal with in order keep its citizens under constant control bankrupts the country and forces the government to fall and gives its people true, capitalist freedoms, although some perfer to dream of a perfect socialist society in Good Bye, Lenin!. http://www.spout.com/groups/Movie_Games/Re_Cause_Effect/598/32910/1/ShowPost.aspx Post By: theunemployedshortstop
Post To: Movie Games
Post Date: 7/22/2008 8:09:12 PM
Body: It's a great example! Here are some movies that could fit inbetween: The Revolution begins and is reported back to the states in Reds. Hitler, after signing an agreement to the contrary, starts to attack the U.S.S.R. The war does not go well at first: Enemy an the Gates, but the tide starts to turn: Ich War 19. Which leads to the occupation and eventually the GDR. I could go further but I think thats enough to lead up to The Lives of Others.
]]>Wed, 23 Jul 2008 00:09:12 GMTtheunemployedshortstopMovie Games7/22/2008 8:09:12 PMIt's a great example! Here are some movies that could fit inbetween: The Revolution begins and is reported back to the states in Reds. Hitler, after signing an agreement to the contrary, starts to attack the U.S.S.R. The war does not go well at first: Enemy an the Gates, but the tide starts to turn: Ich War 19. Which leads to the occupation and eventually the GDR. I could go further but I think thats enough to lead up to The Lives of Others. http://www.spout.com/groups/Movie_Games/Re_Cause_Effect/598/32903/1/ShowPost.aspx Post By: leeroy711
Post To: Movie Games
Post Date: 7/22/2008 3:24:19 PM
Body: The Russian Navy refuses to fire on the Battleship Potemkin. Lenin uses the Battleship Potemkin story to fuel the October revolution of 1917 which puts power in the hands of the Bolsheviks. They form the Soviet Union, which Stalin takes control over. After WWII, the USSR takes over East Germany. The communist state of East Germany (later declared sovereign by USSR) creates the Stasi (secret police of East Germany) dissenters of the State and the Socialist Unity Party were questioned, jailed and/or beaten until the accusers heard what the wanted to hear such as in the film, The Lives Of Others. Allright so, you could have probably fit about 2 or 3 movies in between those two but I would say this was a pretty good example of cause and effect.
]]>Tue, 22 Jul 2008 19:24:19 GMTleeroy711Movie Games7/22/2008 3:24:19 PMThe Russian Navy refuses to fire on the Battleship Potemkin. Lenin uses the Battleship Potemkin story to fuel the October revolution of 1917 which puts power in the hands of the Bolsheviks. They form the Soviet Union, which Stalin takes control over. After WWII, the USSR takes over East Germany. The communist state of East Germany (later declared sovereign by USSR) creates the Stasi (secret police of East Germany) dissenters of the State and the Socialist Unity Party were questioned, jailed and/or beaten until the accusers heard what the wanted to hear such as in the film, The Lives Of Others. Allright so, you could have probably fit about 2 or 3 movies in between those two but I would say this was a pretty good example of cause and effect. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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