marincat Blog

Under discussion:

Clean  (2004)

When I read the cover of Clean, directed by Olivier Assayas , my first thought was that it would be just another drug addiction story with a little boy lost.  Much to my surprise, it was a very good film with some intensely acted parts that were well worth watching.

Maggie Cheung, an apparent knockoff of Yoko Ono in looks, plays the role of Emily Wang.  To say that she is not well liked would be diminishing the impact she has on people she is in contact with on a daily basis.  She is nasty, self-absorbed, foul mouthed and sullen.  Her partner, Lee Hauser, played briefly by James Johnston, is also a slave to his heroin addiction.  His time on screen is short because the film really isn’t about him at all.  The act of overdosing and subsequently dying is actually the catalyst for the remainder of the film.

Emily and Lee have a son, Jay, played by James Dennis.  He lives with his grandparents, Rosemary and Albrecht Hauser.  Martha Henry is Rosemary, kind, gentle, and yet with an underlying hatred for Emily that is imparted to little Jay.  Nick Nolte is Albrecht.  I have to admit that I do not generally like Nick Nolte’s performances and tend to shy away from any films he is acting in.  Once again I was pleasantly surprised this time around.

The film centers on Emily and her journey towards once again being reunited with her son.  She is incarcerated and upon her release, sets about cleaning up her life.  One part of the film that was skimmed over was her ability to break the heroin addiction.  In light of the difficulty involved in such a task, very little was mentioned and her success without relapse was omitted. 

She visits many old acquaintances during this process in order to find a decent job and prove her worth.  As this occurs, we have the distinct pleasure of watching Albrecht enter the picture and converse with her.  He is a rough looking man with a heart of gold, determined to reunite mother and son.  He is old and as we discover further along in the film, his wife, Rosemary, is dying.  He feels that his time is on this earth is also short, and thus he makes every effort to encourage Emily.

Albrecht speaks in a soft, gravelly voice that immediately brings the audience into his thoughts and feelings.  His eyes are a mirror to his soul and unlike his outward appearance, there is kindness and love.  He is steadfast in his belief that Jay must be with his mother regardless of the tainted words his wife bestowed on her son.

Once Emily has embraced her new life a reunion is scheduled with Jay.  Complications arise when Jay is told of this meeting due solely to the belief he has adopted via the words of Rosemary.  Once again, in my opinion, there is a gap in the logical sequence of events.  The audience sees a stubborn little boy who accuses his mother of killing his father and before long, he has agreed to the meeting and adapts almost too easily for the logical mind to accept.  On a brighter note, the impact of the role of Jay was right on target.  It wasn’t sappy or contrived.  The film could have, at this point, turned into a tear-jerker but for the excellent direction of Olivier, and the adherence to the actual point of the film.

Overall, it was a good film that went by quickly without boredom setting in, but I wouldn’t say it was the best I have ever seen.  It was essentially the same film as a hundred others yet enough of a twist to keep it interesting.

Under discussion:

No End in Sight  (2007)

No End In Sight

In this superb documentary, directed by Charles Ferguson, the main theme is the question of what went wrong with the war in Iraq.  It is a concise, unbiased view of the events in the Spring and Summer of 2003 and the decisions that were made that have ultimately led to the question of when, if ever, the war will end.  Campbell Scott narrates in a voice that echoes the matter of fact collection of interviews, statistics, and occasional film clips that have culminated in the situation as it is in Iraq.

I say unbiased only because of the nature of the film itself.  As a documentary, it is an historical overview of the events which transpired from the perspective of those individuals who were actively participating in the series of events in Iraq.  The fact that there are many absent interviews in the film from other principal characters only goes to show the underlying truth, that the entire war was a series of actions filled with incompetence.

Candid observations by former state department officials Richard Armitage, Lawrence Wilkerson and Barbara Bodine are spoken in complete honesty.  But where are President Bush, Donald Rumsfeld, Paul Wolfowitz and all the others who turned a deaf ear on all of the reports and statistics that could have altered the course of the war? 

ORHA, Organization of Recovery and Humanitarian Assistance, headed by Jay Garner, was assembled to deal with the crisis in Iraq.  They were sent to a country which was in total chaos and disarray, looting and violence escalating by the hour, without even the basic tools to accomplish their assignment.  Their first hand observations and suggestions were ignored thus rendering them incapable of working effectively towards restoring civility in a country rife with incendiary behavior.  Jay Garner, during his interview, exemplifies the frustration and sadness he felt as he was basically undermined by those on the sidelines who believed their method was better than his and his group.

Enter Paul Bremer.  The ORHA was no longer and the new group, CPA began operations.  The Coalition Provisional Authority was formed in May of 2003 heralding the beginning of a series of costly mistakes that would shape the future of the war.  Bear in mind that a National Intelligence Report was drawn up and presented prior to this that highly recommended that there be no war with Iraq to begin with.  The most startling element of this is that President Bush did not even read the report, let alone the simple one page synopsis.  When questioned about the report, it was dismissed as guesswork.

That being said, those in power proceeded with the purging of the Ba’ath Party and the dismantling of the Iraq army.  The latter of which escalated the free for all that turned the country into utter chaos.  The men of the army were demoted to regular citizens but with one very distinct difference, they still had their guns in their hands.  Without any source of income in a country torn apart and devastated by war, they were often forced to act in unconventional ways just to feed their families.  The United States military presence was ineffective both in regards to restoring order to the country as well as having the capability to organize a new government for Iraq.  This was through no fault of their own because their assignment was not to be proactive, but rather to merely have their presence known.  They were not utilized in any effective manner as a direct result of orders from those above.

The editing, choice of interviews being interspersed with occasional documentary film clips, and the haunting music combine to make this a very powerful film.  While I was actively following the war during 2003 and still to this day, there were many insights revealed that I was unaware of until now.  The film accomplishes the delivery of the message…what went wrong, clearly and succinctly.  I feel that it is one of the best documentaries made to date in the sense that it is a factual statement of events delivered by those who were on the frontlines.  The frustration, sadness and hopelessness the interviewees experienced has an impact far greater than had it been an anti-war film.  The incorporation of interviews by a wide variety of participants, both those in state department positions and soldiers who were active participants in the war, gives the audience a well rounded account of the events that led up to the current situation in Iraq.

Under discussion:

Long Life, Happiness and Prosperity  (2002)

Long Life, Happiness and Prosperity

In a word, this film is cute.  From the opening scene to the last blissful shot, it is filled with antics, surprises, and touching moments. 

Directed by Mina Shum, it essentially tells a modern day fairy tale that incorporates the lives of three different families and their unintentional connection to one another.  Sandra Oh, better known for her performance in the television series Grey’s Anatomy and the film Under The Tuscan Sun, is Kin Lo Lum.  Her husband has left her and she is in a situation where she must work to support both herself and her daughter, Mindy.  Mindy is played by Valerie Tian, an adorable 12 year old who has only the best interests in mind when she attempts to make life better for she and her mother. 

Connected to this family scenario is one where Bing Lai, played by Ric Young, struggles to accept the fact that his father is no longer in contact with him.  He has been a disappointment to him and all of his letters are never opened.  He perpetuates the ruse by having his work associate make phone calls pretending to be the father.  Bing’s son Nelson, is expected to take over the family business but what his father doesn’t know is that he wishes to become a Buddhist monk.

The third family involved in this film is a night watchman, Shuck who loses his job and contemplates suicide.  He is expertly played  by Chang Tseng whose face is filled with pathos and age.  He has lost sight of his marriage, and wants desperately to continue working.  It is more a matter of honor than a financial one.

This film is predictable, no doubt about that, but it is still amusing and a great escape from the troubles of life as we know it.  The acting is excellent, the crafting by director Mina Shum is meticulous.  There are moments of great humor, particularly when the love potion Mindy concocts falls into the wrong hands.  What should have been her mother’s entrée into a love affair with Alvin, her co-worker, quickly becomes a humorous attachment with Alvin and another man. 

Another well acted scene is one in which Kin, whose second job is being a night telephone psychic, becomes completely flustered and can’t quite remember what she’s supposed to say to the caller. 

Since it is so predictable, all of the necessary elements are in place.  Anger, sadness, despair, near death, and ultimately a happy ending are all squeezed into this short film much to the chagrin of film critics world-wide.  I have to take exception to this because the film does have redeeming qualities and it’s just plain old fun.  It’s not really different from many other films, yet the way it is formulated gives it an edge that makes you smile. 

Some of the critical reviews pertained to the fact that the cast was of mixed Asian performers, some of the misrepresentation of the culture, but from an outsiders view, it was still entertaining.  In summing up, if you want to just sit back and watch a cute movie, then try this one some night.  It’s not a waste of time nor is it one of the best films out there.  It’s just there for your entertainment and what is lacking in the meat of the film is more than made up for by the assorted cast of characters. 

Mina Shum’s first film, winner of a multitude of awards, Double Happiness, was one of those first films that just ignited the critics in a powerful way.  Unfortunately this third film didn’t meet with expectations and was panned unnecessarily  as so often happens in these situations.  Again, I suggest you give it a go…have some fun.

The Son’s Room

Highly emotional, The Son’s Room is a film by Nanni Moretti, in which he also starred as the central character, Giovanni.  A well united family of four, Laura Morante stars as Paola, wife and mother, Jasmine Trinco as the daughter Irene, and Giuseppe Sanfelice as Andrea.  Giovanni is a psychoanalyst, dealing with both humorous and tragic patients while the family goes about everyday activities with little to no stress.

One fateful Sunday, Giovanni chooses to make a house call for a patient in need instead of going for a run with his son.  Tragedy strikes when Andrea dies in a scuba diving accident.  From that moment on, nothing is easy.  Giovanni puts on an emotional mask, losing interest in his patients while Paola grieves with uncontrollable passion.

The film is a commentary on loss, grieving and ultimately healing.  What was once a united family has now been split into individuals coping with the unfathomable loss of a loved one.  Giovanni blames himself for opting to tend to his patient while his son meets his untimely death.  He replays that day over and over in his mind but never seems to move beyond the mire he is embedded in emotionally.

Healing comes from an unexpected chacter, Arianna, played  by Sophia Vigliar.  She is not aware of the death of Andrea when she sends him a letter expressing her love for him.  This sets in motion even more insight into Andrea’s life.  When they finally meet, the circle of mourning is catapulted into acceptance and recovery.

While this is yet another film about death, it is so well acted that there is a difference unique and spellbinding.  The characters take you in and you become one with them and how they feel.  Not merely a movie to watch but rather one to feel and react to in a profound manner.  It illustrates what each of us has gone through when someone dies who is so very important to us.  Identifying with the guilt Giovanni feels is right on the mark and takes us on an emotional journey many of us have lived through.  His varied ways of coping prove futile because the most important connection he can make is by associating with someone else who has also loved Andrea. 

Life goes on but not without one single incident that can once again unite a family deeply divided.  It all comes together in a subtle manner without playing on emotions to the point where it seems contrived.  It is a film where facial expressions reveal the depth of hurt, pain and it does so without formulated stunts which often times manipulate other films. 

Under discussion:

Osama  (2003)

Life and Living

The film Osama is a perfect example of the difference between life and living.  The characters in this film are not really living, but rather going through life with restrictions imposed upon them merely because of their gender.

This film is the first from Afghanistan in the post-Taliban era.  It is directed by Siddiq Barmak who uses the subtleties of the characters facial expressions to convey the depth of feeling welling up inside of them.  Osama is played by Marina Golbahari, Espandi, her street urchin friend, by Arif Herati, and her mother Zubaida Sahar.  The film is set during the Taliban regime, where woman are banned from leaving their houses without a male escort.  This is particularly problematic for this family since both the father and brother have been killed.  The mother has lost her job and with no means of income, she takes a desperate step, one that will ultimately prove to be tragic.

Osama is disguised as a boy and the trials and tribulations of this action are exquisitely shown with clarity and honesty.  When her true identity is discovered, she is put on trial and subsequently punished by being given to an elder as his wife.  Being that she is only 12 years old, her fate has been sealed and her youth stolen.

While I was aware of the situation in Afghanistan, this film brought it to light in a way that is both unforgettable and extremely disturbing.  The acting by Marina is one of the finest performances I have seen to date.  Her face mirrors the terror, hopelessness, and desperation she felt because she was a woman unable to live life as we have all come to know.  Repression and submission were the stronghold of the regime and nowhere is it more evident than in this film.  The women were trapped in a life which held no hope and out of that came heartbreak and suffering. 

If you’re looking for an uplifting film, pass this one up.  Unlike Hollywood, this film doesn’t have the requisite happy ending.  It is, however, poignant  and intense and affords the opportunity to see life from a different perspective.

Under discussion:

Are You Being Served?: Season 01  (1973)

It would be difficult to address each individual season of this show, so I will do an overview of the series as a  whole.  I stumbled upon this series one of those nights when there just wasn't anything else to watch on tv.  The setting is a department store with a cast of characters, and I do mean characters, and their day in the life stories.  An extremely talented and versatile cast made for some memorable moments on the selling floor as well as the lunch room.

While the cast changed occasionally, the principals remained the same.  Mr. Humphries, effeminate and sharp witted, always with his stock comment "I'm free".  Mrs. Slocombe, the older and most times wiser matron whose hair changed color more often than not.  Captain Peacock, the poker faced aristocrat who really wasn't.  Mr. Rumbold, the out of touch, balding, bespeckled manager overwhelmed by his staff.  Miss Brahms, the sexy object of the males attention.  Mr. Lucas, the young, often times inept person who just wanted to move up the ladder.

This series achieved cult status rather rapidly in the U.S.  The primary audience might have been the older set, but it has appeal to all age groups.  While often times silly, slapstick in nature, there is no denying the quality of the performances.  If ever you find yourself bored or looking for something different in the true British comedy sphere, check this series out.  There is bound to be at least one episode that will leave you laughing for days.

Under discussion:

The Monster  (1994)

All you have to do is look at Roberto Benigni and he'll make you laugh.  In this film, although some of it is a bit over the edge comedy-wise, he is at his comedic best.  His facial expressions convey his emotions, while his agility accentuates his perfect timing.  He is a master of the art of comedy and the scene with the cigarette in his pants is the highlight of the movie.  Who else could talk to a TV remote control and pretend it is a cell phone without turning the audience away.

Brilliant film of the comedy nature.