kristen Blog

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.

Under discussion:

The Dark Crystal  (1982)

I heard from a multitude of people that "If you like Labyrinth, youll love The Dark Crystal". They misunderstood everything that I love about Labyrinth. Not only does this movie lack heart, it is boring and predicable. I did love that Labyrinth has cool looking puppets, and in this movie, the same puppets are not as cheesy, but in exchange, they are dry. Labyrinth has a spark of life. The music, the riddles, and most importantly the acceptance of fantasy make Labyrinth the most enjoyable "kids" movie that "adults" will watch. The Dark Crystal, on the other hand, tries to pass a serious adventure fantasy plot in a kids story, marketing both adults and children. It fails to achieve any message worthy of appreciation, and in attempting seriousness, it never finds a life of its own. The Dark Crystal may try to create a unique world with its sets and puppets, but new worlds have life. This is the most dead and atrociously boring film I have seen for a while. I give it no recommendation.

From the stupid deep-throated opening voice over I predicted everything that would follow. There is nothing unique about the story to this fantasy film. There is a threat, one hero goes on a quest to save the others, find a piece of the crystal that will unite and save the race. A love interest is introduced along the way, near the end she makes a sacrifice for her love and in the end that love is rewarded.

I love fantasy films, for example Labyrinth, Legend, Aladdin, Princess Mononoke (In fact, this story is similar to Princess Mononoke, but only in a simplistic way) etc. but those films have heart.

I do not even like the way that the puppet world looks. Yes, it is intricate, and yes, the puppets are not cheesy, but this world is contrived. The lighting is boring, high key lighting, no shadows, nothing creative, especially for a world where everything can be controlled. The colors are ugly, pastel Easter colors. I think that the look of this movie is comparable to Sesame Street, but with dull colors without much contrast. Sesame Street looks better in my opinion.

The Dark Crystal has a tone of Star Trek, that type of seriousness but without Star Treks humor, and an idiotic simple plot, and a look worse than a kids TV show. The only good thing about this movie is a nifty invention that shows models planets in a universe revolving around one another.

Under discussion:

Eros  (2004)

Director- Wong Kar-Wai

Wong Kar-Wai's The Hand makes a revolution from his incomprehensible second film Days of Being Wild only to land him back where he started. This obnoxious look at eroticism trades a challenging tragedy for a piece of oversimplified lusty entertainment. Instead of ambiguity, Kar-Wai lays the cards flat.

A wanton woman weaves a spell on puerile master tailor by favoring him with a hand job. Enchanted, this tailor perfects his craft in hopes of receiving more favors from her. She takes advantage of the free clothing, clearly the extent of her involvement.

The manipulation of the tailor and his pathetic servility to the woman create the perfect scenario for a tragedy. Instead, the film glorifies the erotic lust with sensual scenes and visual splendor. The only tragedy here is a missed opportunity by a director capable of more.

As the first segment in a collection intending to explore erotic love, The Hand directs the viewer to feel lust instead of provoking reflection on the manipulation and disrespect shown by both parties. The tailor remains closet scumbag, while the woman destroys herself with her extravagant habits. And instead of portraying their downfall, Kar-Wai reverts to sensuous pleasure.

The actual hand job is filmed as imaginative soft-core porn meant to incite a steamy reaction in the viewer. Other scenes contain this same erotic nature.

Although this has one of the most obvious plots of any Kar-Wai film, the editing is abrupt and rough. Some cuts are awkward, and the visual flair is a rehash of his other works.

Kar-Wai captures eroticism but fails to comment. He will do best to return to his happy medium of ambiguity and clarity as seen in In the Mood for Love and 2046.

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Director- Steven Soderbergh

Easily the best short in this collection, Soderbergh manages to capture erotic love without pornographic sensation or obscure notions (see The Dangerous Thread of Things). Equilibrium comically explores psychological paranoia, playing on the stereotypes like- psychologists do not actually listen to their patients, and mens fantasies of beautiful women- to create a light hearted but pessimistic darling look at love.

A shrink calms down a husband, played by Robert Downey Jr., concerned about his dream fantasy and alarmed about alarm clocks with half hearted replies like "Yes" I see" and "Go on". While Robert Downey Jr. concocts alarm clock innovations and recalls the vivid fantasies, the shrink pursues a mystery woman.

The film shows the sensuous nature of dreams, how they intertwines with reality, as well as the temporary pursuit of women. Here, erotic love is a temporary pursuit, only a fatal attraction. There is hope for a lasting marriage that is equally sensuous. But also, there is pessimism with the shrinks fleeting erotic love.

Brilliantly written and cast, this gem has me laughing and thinking days later.

Where can we really go from here?

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Director- Michelangelo Antonioni

Where Kar Wai is cut and dry, Antonioni remains as ambiguous as ever. Sure, this work can and has been described as "esoteric", but it is so much so that it takes a persons wildest guess to analyze what Antonioni is after.

The story begins with a man and woman bickering about their relationship. The dialogue is awkward and sounds like a typed essay on love. The characters are secondary to the ideas. All the while, the ideas say nothing new, but have enough merit to entertain the viewer.

That is, until the plot is discarded for two naked women dancing. This ultra-pretentious finale embodies (in some ways) the failures of art films. The images are beautiful but they have lost value. This lifeless art fails to incite any reaction in a viewer (except confusion).

What does this film accomplish? I am not sure. What does this film say? I am not sure. But I am sure that the film does nothing for me as a viewer, and it will take a most patient type of person to tolerate this string of empty turns.