seely

Under discussion:

Crumb  (1995)

American Splendor  (2003)

Anyone who enjoyed American Splendor would be well-advised to check out 1994's "Crumb".  The film, although a documentary, is filmed in much the same style as American Splendor, or more than likely American Splendor is filmed in much the same style as Crumb.  Irrergardless, it is a must-see. 

Harvey Crumb was the avant-garde artist behind American Splendor, and frankly the documentary film is disturbing, hilarious and goes into great depth to explain the psychologically troubled pen behind the pages of American Splendor. 

Under discussion:

A Christmas Carol  (1984)

The Muppet Christmas Carol  (1992)

I won't waste my time recapping such a well-known story.  Surely most everyone has seen at least one or two other versions of this Christmas classic, which range from the nearly unwatchable, to the cheesey to the near genius.  I hadn't seen this version untilr recently, but upon watching it I will take the risk and say it falls into the latter of the three categories. 

George C. Scott is brilliant as Scrooge, with an ominous and foreboding presence through out the movie that convinces the audience that this Scrooge will never see the err of his ways.  Scott seems to hold onto his repugnant character a little longer and a little more tenaciously than the Scrooges in many other versions, making the transformation and redemption that much more surprising and heartwarming. 

Perhaps the highlight of the film came from the three spirits that visited Scrooge through the night.  Often they are shown as purely kind and compassionate beings, interested in gently showing Scrooge the error of his ways. 

The spirits, under Clive Donner's direction play a much harsher and more malevolent role as they possess a more commanding presence, using their power and terror to get Scrooge to see his mistakes.  The spirits often becoming angry with him and his refusal to change, and strike terror in Scrooge's hardened heart.

Donner's spirits seemed to better fit Dickens' original vision of the spirits in his classic tale, and transformed the film from the benign children's tale its become to a much more serious and more meaningful film.

As much as I love 1992's The Muppet Christmas Carol, Clive Donner created a version of A Christmas Carol that I'm sure Dickens would approve of.  The dialogue is lifted nearly verbatim from the original story, and the character portrayals are outsanding and true to the feel of the original text. 

For accuracy, and faithfulness to the message and feel of Dickens' masterpiece, this film gets an A+.  The only (minor) detractors to the story being the at-times decidedly low-budget, low-tech special effects and somewhat theatrical over-dramatic acting at times.  However, George C. Scott and crew carry the story so well and engross the audieence so thoroughly that most viewers will scarcely notice.

To Live

I must admit, I was less than excited at the prospect of seeing another historical “period-piece”.  Most I have seen have left me less than awe-struck, and carry little weight or importance other than a portrayal of life in a different era.  “To Live” was an exception to the rule, to say the least.

I found myself immediately immersed into a world I had never seen and could never imagine.  An early 1940’s, poverty struck China.  A world ruled by the few elite rich lords under what amounts to a feudal system.  It is something read about in history class, but to see it first hand in such beautiful detail is an entirely different—and moving—experience.

The audience is introduced to Fugui, a young man with a serious gambling problem.  His family, once prominent and wealthy, barely has anything left but their ancestral family home where he resides with his father, mother, wife and child.  Fugui, against his wife’s wishes, heads out “one last time” to the gambling halls, in the hopes of settling his debt.  He quickly loses everything.  His house, his father, his wife, and his status in one fell swoop. 

Fugui must then start his life over as a common pauper hawking street wares, struggling to care for his ill mother.  As he settles into his new life, he slowly climbs the proverbial ladder becoming somewhat successful and making ends meet by putting on musical puppet-shows for extra income, while the Chinese Revolution sweeps across the country.  Eventually, the revolution catches up with Fugui and he finds himself swept up in its current as it is billed as a revolution for the commoner and the lower class. 

Chairman Mao rises to power, Communism takes hold, and optimism runs unbridled.  For a while, society seems to improve, an egalitarian utopia emerges, but it is not to last.  Society implodes on itself as accusations of disloyalty to the Communist party run rampant, and everyone of the old regime is imprisoned.  Society begins to fall apart as Chairman Mao’s programs begin to crumble and people, including Fugui, begin to see the effects and consequences of the untamed and unrealistic enthusiasm, and the loss of knowledge.

The film however does not end without hope.  There are several allusions to rebirth, and the rebuilding of Chinese society, and a better future to come after the fall of Communism.  The film ends somewhat abruptly, but only after a poignant metaphor by Fugui that leaves the viewer optimistic after a film filled with so much tradgedy, changing the film from  a story of non-stop tradgedy to a celebration of life and hope for the future.