Risselada Blog

Under discussion:

Man on Wire  (2008)

Man on Wire

It's a movie I saw with some friends in the theater.  I didn't pick it and didn't know much about it, but the subject was about an intriguingevent I had never even heard about.

If you have read the synopsis or remember the event (you are older than me), then you know that a Frenchman named Philippe Petit along with some accomplices strung a wire across the top of the Twin Towers of the World Trade Center.  And then this crazed man did a tight-rope walk / act across them for about 45 minutes.  It was called "the artistic crime of the century"

The film follows the story from Petit's youth, his earlier stunts tight-rope walking high wires strung across Notre Dame in Paris, some bridge in Sydney, and the Superdome amongst others.  The story is told through interviews, original film footage, and reenactments.

I was surprised to hear and read discussionsof the film subsequent to viewing it in which people found Petit to be unappealing because of his vanity and obsession often to the extent of placing extreme stress and danger on many of his friends and people around him.  I wasn't surprised because I didn't agree.  But I did see this devious charm that the man had.  This fascination at his obvious talent and outrageous obsessions.  It's not hard to see how people were roped in.  And maybe I was being vein myself, but I thought most viewers would also be roped in and charmed as well.  Maybe they were since the film has gone on to do so well.  Or maybe the movie charmed them.  I guess that's what really counts when making the final evaluation of the film.

One aspect of this film that is never overtly referenced (at least I sure don't remember any) but that is going to be inevitable in the thoughts of any viewer is the perspective of looking at these buildings we have lost after 9/11.  Although it's never mentioned, it's impossible for this film to elicit the same mood on audiences as it would have in an alternate universe where the World Trade Center is still standing.  But as this man in a way conquered these buildings decades ago.  I think the movie gives some kind of hope that there will always be new challenges to conquer in the future.

Does that sound corny?  I had some other thoughts in my head of ways to end this review, but I'm using a computer at an old folk's home where my girlfriend's grandfather is staying and she's telling me it's time to go.  So I must say adieu.

Rating: 8/10

Under discussion:

Ali: Fear Eats the Soul  (1974)

All That Heaven Allows  (1955)

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

Angst essen Seele auf (Ali: Fear Eats the Soul)

This is probably Fassbinder's most seen and acclaimed film he made in his short but highly prolific career.  Touted as a remake of All that Heaven Allows (which I have seen), it's really more of an inspiration than a recognizable remake.  The basic idea of an older woman forming a romantic relationship with a younger man is compounded by the fact that she is a white German woman and he is a dark skinned Arab.  This challenges the views of most of the people in society around them of what an appropriate relationship is including the woman's children.  But beyond this connection, the movies are drastically different.  The characters have different temperaments  and are a little less pure hearted (and more realistic).

It's a captivating movie with simple quiet scenes mixed with some of real charged emotion.  We are introduced to some characters that seem to have been unaffected by society's relentless judgment  about what kind of people should associate with each other.  And with separate cultures' insistence  on aspects of their culture that are incompatible  with other cultures.  And as we come to love these characters we soon see that these virtues that seem so innate in them are not things that come as easy as it first seems.  These people are not as naive as we first come to believe.  They have been fighting a noble war to keep their views of other cultures open and pure in spite of so many societal pressures.  And sometimes these characters cave in.

The movie grows in complexity and drama while maintaining  a core of simplicity.  Fassbinder may not appeal to me on all levels, but I can recognize his label as a genius film director and one of the most talented and revolutionary figures in the world of film.

Rating: 8/10

Under discussion:

The Fall of the House of Usher  (1928)

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

La Chute de la maison Usher (The Fall of the House of Usher)

I ran across this one as I was making my list for my "movie year countdown".  Was doing a search of movies that came out in 1928, and hadn't heard of this one before.  Director Jean Epstein appears to be a notible figure in the film world during the 20s.

From what I remember, the original Poe story didn't have too much in the way of intricate plot.  Like probably most of his more famous stories, it's more based on the mood and imagery he creates.  The film likewise is not too concerned with keeping a straight narrative but presenting some creepy and supernatural imagery.  Spooky pictures, double exposures, candles, coffins, stuff like that.  It may also be notable to mention that Luis Buñuel was listed as co-writer and assistant director.

I honestly can't remember why I didn't rate this film higher.  I guess the fact that I can't remember means that there wasn't anything about it that really stood out enough to interest me.  At the same time I can't really dissuade anyone from checking it out.  It's probably worth seeing if you have some interest in the silent film era and mood pieces like this.  But it wasn't stunning enough to make me want to seek out more from Epstein.

Rating: 6/10