unclefestering Blog

Under discussion:

F for Fake  (1973)

The Hoax  (2007)

When is a documentary not a documentary? When it is put in the hands of a master like Orson Welles. F for Fake is often gets dismissed because it can't be put into a box. But it is as subtle as a snake charmer and asks questions that it makes clear have no good answers.

It questions the nature of art and inspiration by looking at a famous art forger. What inspired Picasso and Matisse? Can you tell if you have a real one? Are you sure? If the fake is as inspiring as a work by the real master, is it still art? In a great twist, the main interviewer for much of the movie turns out to be the man who became famous for forging Howard Hughes' autobiography and making millions on it. That inspired the Richard Gere movie, The Hoax (2007). (I want to see that movie, mainly from seeing the real Clifford Irving in this film.)

This movie isn't a documentary, it is a film poem on the nature of reality. If that sounds like a joke, it is one of the many subtle ones Welles plays on the audience throughout this movie.

Under discussion:

Fists of Fury  (1972)

Fist of Legend  (2008)

Li's Fist of Legend is probably the best remake of the classic Bruce Lee's Fists of Fury (1971). Jet Li play the role with more sympathy then Lee. His version of Chen Zhen studied in Japan and has an appreciation for the Japanese culture. That appreciation bring him into conflict with his fellow kung fu students when their master is poisoned and killed in a fight with the Japanese karate master. He eventually has to take on the Japanese master to redeem his honor.

The movie showcases Li's intense martial arts style well. It plays to his strengths with naturalistic fight sequences. The climactic final fight sequence is worth the somewhat drawn out middle section of the movie.

Under discussion:

The Dead  (1987)

The Treasure of the Sierra Madre  (1948)

John Huston got everything right when he made The Dead. First, it was a great choice of material. In the past others have tried to adapt James Joyce’s works and failed. Instead of picking a monumental project, Huston picked his best short story. He maintains a brisk pace on this 84 minute masterpiece.

Despite the short time, Huston gives us an absolutely brilliant and intimate view of the difference between love and passion and acceptance of what we have. From the humorous and boorish conversations at the Christmas party to beautifully haunting carriage ride home where Greta, played by the director’s daughter, Angelica, tells  her husband a devastating secret.

The cinematography on this movie is fantastic. Even if the rest of the movie was a disaster (which it isn’t) the transcendent shots would make watching this worth every second.

It was a great feather in his cap that he was able to have his children involved in his last film. It is especially fitting since his work with his father on The Treasure of the Sierra Madre (1948) won him an Oscar early in his career.