JScott Blog

Under discussion:

Ten Canoes  (2007)

Back in 2006 I was in Telluride, Colorado for the 33rd Annual Telluride Film Festival which gave their silver medals (for lifetime achievment essentially) to both Penelope Cruz and Rolf de Heer.  Penelope's tribute had lines around the theatre and had people turned away.  The one for Rolf was in a tiny venue (known as the Sheraton Opera House) that sat maybe 100 people. 

The show wasn't sold out and we were led into the event by watching clips from Rolf's other films Bad Boy Bubby and a few others.  While they seemed very gritty and true, they also kind of turned me off of this man's work.  I appreciate that he wanted to take a look at the love life of the developmentally challenged, but it was very sexualized and there is kind of a fine line for me with regards to that.  Either way, long story short, Ten Canoes was my favorite film of the fesitval, even going head-to-head with Pedro Almodovar's (my favorite living director) Volver.

The film is a fable about life, death and the constant desire to be older than you are ready to be.  The story is told by a narrator (David Gulpilil Ridjimiraril Dalaithngu, the aboriginal boy from Nicolas Roeg's Walkabout) and spans two seperate life cycles.  Not only is the tale inciteful but the real life canoe making is interesting to watch.

This is the first film ever made to only be made in an aboriginal language which celebrates their heritage and culture, both which are dying due to development and colonization.

The film is warm, funny and at times shocking.  These "uncivilized" people aren't much different from you, me or anyone else in your city.  They all want to love and be loved, they all have vices and they think farting is funny.  And in this film, it very much is.

The subtleties in the camera work (including, but limited to, the exact picture drawn on the chest of Minygululu [Peter Minygululu] the elder matches the area where his soul is deposited, waiting to be reincarnated).  The use of the same actor (Jamie Dayindi Gulpilil Dalaithngu) in two story lines infact shows that cyclical nature of their beliefs and other the film.  Also not to mention that he is the younger brother of the narrator who is telling the story of "his ancestors."

This film is an incredible oppertunity to see into a culture that most of us will never have a chance to witness.  This film would make an incredible double-feature with the previously mentioned Walkabout (or The Tracker) if anyone is interested in a wholely Australian experience.

This film may not have the complexity and depth of Walkabout but it shines in other ways and is very much worth a viewing.

I have absolutely no reservations about giving this film 5 stars.

Under discussion:

3:10 to Yuma  (2007)

3:10 to Yuma

Unforgiven and Open Range have found success recently but in comparison to the rate at which they were pumped out during the days of John Wayne the western genre is on the down swing of its popularity.  The morals behind the tales are still relevant the same way the Aesop's fables are but I believe that people are more interested in comedies or the more futuristic gadget based movies such as Bond where technology is the star more so than the story.

3:10 to Yuma is a strong story about redemption, validation and respect.  Dan Evans (Christian Bale) plays a struggling rancher who is experiencing tough times from his land and his family.  His son idolizes bandit Ben Wade (Russell Crowe) who is captured by the determined local sheriff.  Capturing Wade brings on its own set of problems that lead to Evans being signed up to help deliver him to the 3:10 train to Yuma in the next city.  Of course Wade's gang, led by Charlie Prince (Ben Foster), will at nothing to free him.

Where the film succeeds is in its storyline, the acting and the unique set design which emphasizes the ticking clock of having to get Wade to the train at the designated time.  The half-built city set design is one-of-a-kind and lends itself well to a well orchestrated chase leading to the finale.

Both Russell Crowe and Christian Bale do superb jobs in their roles but they are far from the only big name actors involved in this project.  Peter Fonda, Gretchen Mol and Luke Wilson also have important parts but in the end it is Bale who outshines the rest of the cast.  His confidence and vulnerability play well off each other leading to a startling reveal that makes him need to deliver Wade for more than just the money alone.  Foster's arrogant approach to playing Charlie Prince provides comic relief and helps the pacing of the film.  Charlie Price is a guy you want to watch even though you despise him.

This film should do well come Oscar nomination time.  Bale should be nominated, Crowe could be (although there are probably stronger performances elsewhere) but also the Soundtrack (when it is there) is good and the set design is fantastic.

I would recommend most people see this film, even if you aren't a huge western buff.  I wouldn't say I even enjoy most westerns but this is just a good story.

Under discussion:

13 Tzameti  (2005)

13 Tzameti is a French language film written by Géla Babluani, a Georgian.  The film focuses on a poor 22-year old roofer who stumbles on a secretive underground world of russian roulette after finding a letter sent to his boss who overdoses.  He takes a train ticket and is led into a gritty and disturbing world of gambling.  

The camerawork and the choice of black and white (rather than color) lends itself to the gritty look and the noir look and feel of so much death. 

My main issue with this film is that I am unsure what it is about.  There seems to be no subversively underlying message other than money seems to dictate these characters' lives.  Many characters are doing this to support their families in some way.  Ultimately all of them are willing to give their lives to help their kin in tough times.  The motif of the bored rich versus the needy poor is a fairly obvious one and reminds me of Pier Paolo Pasolini's Pigsty but more about his other (more infamous) film Salo but minus the crazy sexual influences.

Sébastien (George Babluani, the director's brother) reacts to events rather that causes them to happen.  Reacting is the first thing a screenwriter will tell you to make a character feel passive and remove him from the audience.  It feels like he is just along for the ride, which in this case is probably appropriate.  Thoughout the film I felt like I was more interested in the game happening than what was going to happen to any of the characters.

The idea of the movie could be a good one, and talks of there being an American remake give me some hope that a few things can be improved, but I have yet to see a remake (let along a Hollywood one) that is better than the original.  Even if the original writer/director is making it.  The new one looks to be in color which I am not sure is the best decision for a film noir film.

I think the film is worth seeing and maybe is the type of movie you need to watch multiple times to fully understand but I am not so sure of that.  There didn't seem to be much lurking under the surface but it is an interesting and unique 90 minutes that I am okay with giving up.  It is certainly watchable, but I expected more from a film with so much praise from festival plastered all over its cover.