kristen Blog

Under discussion:

Lawrence of Arabia  (1962)

            "Of course it hurts; the thing is not minding that it hurts" Lawrence, played by Peter O'Toole, may be a philosopher, a charming fellow, and an idealistic young chap in the first half of Lawrence of Arabia, but the movie's brilliance lies in Lawrence's fanatical masochism (and moral downfall?). This film provides insights on the twisted pleasures of the human psyche. The desert location works on several levels: first, as dazzling eye candy, second, to establish an epic location, third, to observe the desert in its untamable nature, and fourth, as a barren wasteland that relates metaphorically to Lawrence's traits and philosophies. The movie does well to create an epic character, Lawrence, and compliment him with the desert; both hold the same mysterious power. The film also works in a sense of religious fanaticism. Lean constructs a movie as profound as classic literature, complete with innuendos, metaphors, and levels of interpretation.

            The desert is the most powerful element in Lawrence of Arabia. For one, the desert perfectly characterizes the hero/anti-hero Lawrence. We first meet Lawrence as a perfect, genuine optimist with idealist passions and firm belief in his own abilities/ power. With a cunning move, Lawrence obtains an assignment in Arabia. He seems to fight with loyalty to both Arabs and English, but his motivations for his aid in the Arab rebellion against the Turks are never certain. His heroism almost irritates as he risks his life to go after a stray man. He seems to value life and has almost Christian sort of perfections. In Biblical form, Lawrence searches for the lost sheep. He leads people across the desert. He takes on mission after mission of impossible quests. Miracles happen under his supervision. These religious motifs grow irksome when Lawrence comments that the pillar of fire is leading him (a Moses reference). In front of him, there appears to be a cloud, and since he is traveling by day, I would have much preferred him to say, "look, the clouds lead us by day" since the story says they are lead by clouds by day, fire by night. But the Moses reference fails to characterize Lawrence (to the brilliance of the movie). Lawrence at this point seems to be too upright to be called a Moses figure. Moral ambiguity appears later, and when it does, Lawrence is both more and less like Moses. (Dang, that is good writing!)

            With the moral ambiguity, Lawrence admits to delighting in murder, we find at least some explanation for Lawrence's masochist philosophies. Lawrence may enjoy the pain of the desert because it allows him to expiate his sins. But that does not excuse his delight in something so rotten and sinful as murder.

Under discussion:

Solaris  (2002)

The essence of this movie is captured in a comparison to a cologne commercial: it leaves a sweet fragrance but does not have much substance. Cut through the generic science fiction babble and you have a love story about second (or infinite) chances.

The movie falls prey to some typical science fiction ideas that do not receive adequate exposition. For example, Solaris briefly touches on the concept of reality (are people just puppets?), has surface level discussions about God ("God exists because humans are conscious" "No he doesnt. We're a product of mathematics and time"), and worries about threats to humanity (Gordon tries to preserve humanity even above morality).

The acting tends to be melodramatic and misses the mark. George Clooney gives a good performance, though, and for the most part and carries the other awful acting. The secondary characters, specifically the spaced out, confused dream instantiation named Snow, stumble through the same motions. Snow talks a lot but never says anything. This grows old and takes away from the movie.

Solaris has high productions values: the sets are believable and that makes for an enjoyable watch. Also, cologne does have some weight, no matter how minuscule. The love story is interesting. It develops are real bond of love that must meet in a world beyond either ones comprehension. When Clooney returns to love he finds like foreign without love. Overall, love continues through all impossibilities and transcends time, space, even death. This science fiction film is more romantic than its counterparts like Sphere, but I would look to films like Gattaca for a better relationship. Overall, Solaris is fun, and that is about it.

Under discussion:

Imitation of Life  (1959)

This stirring, eloquent look at controversial racial interrelation proves masterful in articulation, character development, and finds a message more profound than it appears. I have never been more moved by a sincere expression of faith and servitude in a film than demonstrated by black mother Annie, who in one sense is the focus of the story. One, I am shocked that such a human movie is Fassbinders favorite film, but I do see how Fassbinder derives a lot from the acting and the look. I do not think that my review can do justice to such an incredible movie.

A struggling widow and mother Lora meets Annie, a single black mother trying to give her child a home, through a chance encounter when their kids start playing. From the beginning of the movie we see that life is a struggle for people of color. No one will give Annie a job since she refuses to part with her child, Sara Jane. Lora, though, has a connection with Annie, and allows Annie to share her home while Lora herself struggles to find work. This act does reveal Loras kind heart, for she gives up her home to someone who cannot pay and asks nothing of her. Out of gratitude for such a warmhearted deed, Annie volunteers to do things around the house. Some people say that the movie is racist because Annie serves Lora, but anyone who receives a free home for oneself and ones daughter would try to return the favor. I would at least. This is the servitude of love, respect, and friendship: the same Christian servitude of Mother Theresa.

Lora, then, has the ambition and drive to be a successful in her dreams of acting. Though her integrity is called into question she remains firm. She is promised fame if she will prostitute herself. She refuses. She falls in love, but even that cannot deter her ambition. She beautifully and tragically captures the sacrifices, struggles, and successes needed in order to follow ones dreams. Even in her faithfulness to her dream, and even with her success, Annie loses much that is fundamental and dear.

There is a fantastic moment in the movie when Lora realizes her selfishness (but this should not be considered racism). Lora speaks with Annie about Annies funeral arrangements. Annie plans an extravagant funeral and speaks of the many who will attend. This surprises Lora, for she did not know that Annie has friends. The conversation develops as follows: "I didnt know that you had friends..." "You never asked, miss Lora". It is here Lora realizes how self-centered she has been and realizes that she has not been the friend to Annie that she thought. She disregards others for her own success, though never intends things to be this way.

The children play a crucial role in the movie. While Lora strives for fame, her daughter, Susie, looks to Annie for motherly advice. Annies daughter, Sara Jane, however, struggles with her own demons. Her skin color can pass as white, and that is what she wants to be... white, white, white. Sara Jane instinctively understands that life is easier for white people, and she is afraid to be different. Lora and Annie try to help Sara Jane accept herself for who she is, but Sara Jane rebels, which visibly damages her mother. Sara Jane looks to Lora with motherly respect, but that is because Lora is white. The movie, at every step, rebukes Sara Janes ambition to be white. Lora and Annie want Sara Jane to accept herself and they try to show Sara Jane that she is loved regardless of color. Sara Janes ambition to be white becomes not so much of a racist slur, but an individuals struggle to find and accept oneself.

The movie ends with Annies struggle and the way it affects the others. Annie loves her daughter so much, and cannot help but give her daughter everything she can in love. Annie shows the real, sincere love in the midst of Hollywood glamor, selfishness, and ambition. Annie acts. She loves. And though she has been a background character for most of the movie, the end brings out her positive effect on everything she touches. It is her goodness, her faith, and her love that makes everything else real.

I think that anyone who thinks that this movie is racist is one hundred percent wrong, missed the point, and should consider watching this phenomenal film again.