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Risselada Blog

  • movie year countdown - round #2 - #15 - 1978-9 - Stalker

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    Andrei Rublev  (1966)

    Solaris  (1972)

    Stalker  (1979)

    This blog entry is part of my “movie year countdown round #2”.  Read more about that here.

    Stalker

    I'm not exactly sure how to begin this review.  Stalker is a movie that leaves you contemplating so many different things for so long.  Probably even more than Andrei Rublev or Solaris which are the two other movies I've seen by Andrei Tarkovsky and could be described in the same way.

    I feel like it's a film that in a way is very difficult to discuss with other people, especially to try to describe if you haven't seen it.  The discussions this movie will cause you to have is more of a contemplation within yourself.  And it's hard to describe because what it evokes doesn't come about because of the simple events that could be given in a synopsis.  There are a lot of long takes and the dialogue is often sparse and philosophical.  Some of the images are truly captivating and I for one was grateful to be able to have so much time to take them in.

    I can't remember if it was on the special features for this film or just in reading elsewhere about the film online, but I discovered (as was no surprise from observing how different his films feel from any other you've seen) that he has published some specific theories on how he sees film.  I'm very interested in picking up his book Sculpting in Time.  Apparently Tarkovsky rejects the theories of earlier seminal Russian film theorists like Kuleshov and Eisenstein who placed so much importance on editing and the relationship of different shots and how they are put together.  Tarkovsky uses a term called time-pressure to refer to the rhythm of the film.  Seeing as I've been rather unaffected by many older Russian films (maybe just because they are so propagandistic) compared to the wonder I'm filled with watching a Tarkovsky film, I'm very interested in reading more of his theory.  Has anyone read his book?

    Reading discussion boards regarding this movie, there are many people who consider this the height of movie making.  While many other are angered by the fact that so many people sing its praises so highly because these people find the film to be slow, boring, and pretentious.  They believe that the people who talk about it so highly cannot truly enjoy it and talk so highly of it to make themselves seem smart or cultured.  I wonder if these people actually gave the movie the benefit of the doubt and sat down to absorb the whole thing.  I know my mood can of course affect whether I can be as absorbed in a movie like this or not, but at the same time the images were so captivating and there honestly was a real feeling of tension that cannot be rivaled by even some fast paced thrillers.  But it wasn't until the movie was over and I really let the images play over in my mind that I appreciated it as much as I do.  There are many more movies out there that would warrant the tag of being pretentious over this one.

    Recommended for those people who aren't afraid of referring to movies as spiritual or as art.  And I'm not being pretentious by saying that!

    Rating: 9/10


  • movie year countdown - round #2 - #14 - 1980-1 - The Big Red One

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    The Big Red One  (1980)

    This blog entry is part of my “movie year countdown round #2”.  Read more about that here.

    The Big Red One

    The reconstruction of this movie released a few years ago is practically an entirely new movie.  I've never seen the original release, but the reconstruction is over 43% longer.

    It's unfortunate that Fuller couldn't see the film in a more complete form.  Most of what he shot was cut out of the version he saw when he was alive.  Although I say it's unfortunate for him because from seeing many of the special features on the DVD this was probably one of the nearest and dearest to him of all his movie projects.  Even though of all of his movies that I have seen this is not my favorite.

    I generally have an initial aversion to films that may be labeled as "epic".  And how many World War II movies don't try to fit that term?  On top of that the structure of this film is that it jumps suddenly to different times and places.  Sometimes we skip over many months or maybe even years in the lives of the main characters.  I'm not sure because it doesn't always specify.  And we are often in many different places around Europe and Africa.  The scenes are often described as vignettes, recounting unusual stories that were often inspired by actual events that occurred to Fuller or were recounted to him by real people he knew.  I like the fact that he can cut right to the interesting stuff without developing any unnecessary context.  But there are a few times, especially in the beginning of the movie where the lack of context keeps you from letting yourself get involved in the story because you are just scratching your head about too many things and trying to follow and remember little blips of information that go by so fast.  At the very beginning of the film there is already a scene where the main characters get separated from their sergeant.  We don't even know who these people are so I was trying to figure out what their relationship was and how much we were supposed to care about all of this.  It felt like a moment that should have gone near the end of the film.

    Maybe I can't blame Fuller for this since the movie was originally taken from hims and cut up.  Maybe there was stuff that he filmed or a way that he planned to edit it that would have been different.  But the reconstruction team sure seemed to have a lot to work with.

    But I'm kind of criticizing a movie that I really thought was great.  Maybe I'm just trying to justify giving it an 8 instead of a 9 or 10.  What I'm trying to say is that maybe I wouldn't have appreciated the movie as much if I wasn't able to watch all of the special features on the DVD as well.  I'd recommend you check them out if you rent this.

    Rating: 8/10


  • Spout Mavens review - Mumia Abu-Jamal: A Case for Reasonable Doubt?

    2 out of 2 people found this review helpful. [What do you think?]

    I first heard about Mumia Abu-Jamal earlier this year.  I was walking down the street in downtown Chicago where I work and someone handed me a flyer.  It was all about Mumia, his predicament of supposedly being wrongfully imprisoned and sentenced to death, and that he was never given a fair trial.  All of these issues are dealt with in the documentary Mumia Abu-Jamal: A Case for Reasonable Doubt? which appears to have originally aired on HBO in 1996.  The film was recently re-released this year on DVD.

    I love watching stuff like this.  The Thin Blue Line and Paradise Lost: The Child Murders at Robin Hood Hills for instance.  And the kind of case file examinations you see on Court TV or the Discover channel at 1 AM.  Ambiguous court cases.  Conflicting evidence.  Motives and evidence coming from every different angle.

    The title of the movie mentions  "reasonable doubt".  We are presented the facts argued by the prosecution, but generally the film feels like it is taking the side of the defense, arguing that the Philadelphia Police Department and the judge in the case were biased against Mumia from the starts.  From the very moment police arrived on the scene of the crime, through collecting and recording evidence, through selection of the jury, through coercion of witnesses, through suppression of evidence, and through the sentencing process we are shown how Mumia may not have had a fair trial.  When it's all over the films seems to be asking the viewers whether at this point there is a reasonable doubt left that Mumia may be innocent.

    Now I'm not too knowledgeable about what the exact definition of a "reasonable" doubt is within our court system.  But my personal definition seems to include smaller levels of doubt than many average people, especially when emotions or other agendas are involved.  It may be what appeals to me in these kinds of films.  The suspicion that the system is against the individual.  The audacity I see in many people who seem so certain of pronouncing someone guilty and heaping such immense sentences on that person when the ratio of certainty vs. the extent of the punishment seems to be way off.  The fear that I may by accident be targeted as the patsy by a system that cares not for any individual rights of any individual if impeding on them suits their ulterior motives.

    Now I'm not saying that Mumia's case clearly fits that bill, but this is the sentiment that draws me to be interested in these types of cases.

    After watching this movie I have done some slight additional investigation on the matter.  There are additional pieces of information left out of this film, some more conspicuous than others.  And of course there have been several additional developments in the matter during the twelve years since this movie was released.

    The murder that Mumia was convicted of occurred in 1981, the same year I was born.  When this movie first came out Mumia had been in prison on death row for fourteen years.  Now in 2008 it has been twenty-six years since the incident.  At this time Mumia is no longer on death row, but still in prison with a life sentence.  But as evidenced by the fact that earlier this year I received a flyer regarding his predicament (and I think some kind of big rally taking place) there are still massive social movements that have grown out of this case.  The case has become the impetus for groups arguing for as many issues as racism, police and judicial corruption, freedom of speech, and a lot more.  In fact a movie documenting not only the case itself but the way it has affected and become the icon for so many other social and political groups and movements might be a more relevant and conscientious documentary than this film is.  Is it possible that this film could help get Mumia freed like the film The Thin Blue Line did?  It's unlikely at this point, but it probably has helped to increase the awareness that has fueled all of these social movements.

    After looking at ratings and reviews for this film on different websites you may assume that giving a high rating for this film means you think Mumia is innocent and a low rating means you think he is guilty.  I rate this film highly even though I am really not sure because the film is very engaging without being deceptive.  You can always do your own research later.  But some of the most compelling portions of the movie have to be the emotional testimonies from a couple people who claim to have witnessed events that suggest Mumia's innocence and how they were coerced by the police to lie under oath.  The fact that Mumia is so well spoken doesn't hurt the fascination with his case either.

    Like the jurors in one of my favorite films 12 Angry Men, I look at these cases and seek to find any possible doubt, put it altogether and ask myself "is it reasonable?"  In the case of Mumia, I have not made up my mind, but if you find these kinds of questionable court case studies fascinating I highly recommend checking out the recent re-release of this film on DVD.

    Other recommendations: The Thin Blue LineParadise Lost: The Child Murders at Robin Hood Hills

    Rating: 9/10


  • movie year countdown #77 - 1930 - Der Blaue Engel (The Blue Angel)

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    The Blue Angel  (1930)

    This blog entry is part of my “movie year countdown”.  To read more about that check out my first Spout filmblog entry.

    Der Blaue Engel (The Blue Angel)

    Emil Jannings may have been the greatest silent film actor, and he makes the transition wonderfully into what I believe is his first sound film.  It's the right character for him to make the transition.  The character isn't especially verbose but still has plenty of expression.

    The film depicts some amazing settings that I'm not sure were even real or not.  Was there ever such a nightclub as the one shown here?  With the singing girls and the simple but compelling cutouts behind them.  The settings are evocative of a time and place that I don't necessarily wish I could live in but would certainly love to drop by for a visit.  I remember seeing the silent thin clown with his painted on frown always appearing with this strangely chilling yet hilarious look of a mix of judgment and curiosity.  And then to see the professor take on the same outfit at the end is such an unexpected transformation.

    The climax of the film with the professor's ****-a-doodle-doo morphed into a shriek of desperation and madness is one of the most astounding moments in film history.

    Rating: 9/10


  • Speed Racer

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    Speed Racer  (2008)

    Speed Racer

    Have you ever sat down and watched a friend play a cool video game that they were really good at?  And it looked so visually stunning that you thought you had to try it too.  And then when you tried it you realized that you would need a lot of practice to be good enough to have anywhere near as much fun as your friend who had become so good at it.  So it was actually more enjoyable for you to just sit back watch your talented friend play this stunning game instead of playing it yourself?  That's what I thought Speed Racer was going to be like when I first saw the trailer.  And that's pretty much what it ended up being.

    I had fun at this one because it was pretty much what I expected.  Although I guess I didn't realize for some reason how explicitly geared towards kids it was.  Or at least, it must have been marketed that way because every other group sitting with me in the movie theatre was parents with their kids.  Maybe somehow my mind just couldn't put the phrases "Wachowski brothers" and "PG rated" together.  That and the fact that the movie is 2 hours and 15 minutes long, and no matter how good a movie is you are going to be hard pressed to keep a little kid sitting in a seat that long without getting way too fidgety.

    If you like vibrant colors and decent attempts at converting anime convention into live action then don't pass this one up.

    I'm kind of surprised there wasn't at least one acid freak in the theater.  Or maybe there was...

    Rating: 8/10


  • Indiana Jones and the Kingdom of the Crystal Skull

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    Indiana Jones and the Kingdom of the Crystal Skull

    Lucas's obsession with CGI over classic stunt work and physical special effects.  Spielberg's obsession with troubled father/son relationships.  And both of their obsession with extraterrestrials.

    A fun movie overall, but hear more complaints here:

    $7 Champagne

    And in the fantasy group

    Rating: 7/10


 


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