- Pride (Matthew Warchus)
- The Immigrant (James Gray)
- Time Regained (Raul Ruiz)
- Un Cuento Chino (Sebastián Borensztein)
- The Marriage Circle (Ernst Lubitsch)
- The Land of Milk and Honey (Pierre Étaix)
- Throne of Blood (Akira Kurosawa)
- Two Days, One Night (Jean-Pierre & Luc Dardenne)
- The Quiet Duel (Akira Kurosawa)
- Through A Glass Darkly (Ingmar Bergman)
1- Having finally completed reading the entire À la recherche du temps perdu (shameless bragging freely admitted), I have been on a quest to read and see everything that can help me relive that wonderful experience. I wouldn’t let myself watch Raul Ruiz’ Time Regained until I finished reading the whole cycle. I felt I would never get to see this movie because of this silly rule I imposed on myself. I’m glad I did. This is a film only for people who have read, loved, obsessed over, shared, hated and lived in Proust’s great work. I can’t imagine who else would get it. It is magnificent in its compression – the spirit of the work is so well captured in small and big strokes. Even though the movie ostensibly concentrates on the last volume, there are flashes of earlier, important events and the juxtapositions between past and present would have made Proust proud. The casting is wonderful. Although John Malkovich is not the right physical type for the wonderfully infuriating and repellant Baron du Charlus, he embodies the character’s quirky sense of self-righteousness and self-torture perfectly, especially in his final scene when he is bowing to the hitherto despised Madame de Sainte Euverte. Marie-France Pisier is pitch-perfect as the awful Mme. Verdurin and no one else could have played the older Odette than Catherine Deneuve. When Edith Scob appears I said, ‘Yes, that is exactly what the Duchesse de Geurmantes is like’. I loved this film, but can’t really recommend it unless you’ve immersed yourself in the worlds of Swann’s and the Geurmantes’s ways.
2- Un Cuento Chino is a rare delight. A sweet film with just enough vinegar to keep it from cloying. Endearing characters that are neurotic enough to be believable. Riccardo Darin is a huge star in Argentina who should be better known here. I loved this movie. A pure pleasure.
3- The Immigrant and Two Days, One Night were both up for Oscars and both starred Marion Cottillard. Both also embody certain aesthetics and moralities of contemporary cinema. For the past twenty years or so, moral relativism seems to be the only lens through which certain filmmakers can address moral issues. There is a great reluctance to identify evil as evil, immorality as immorality, etc. Clear-cut identification seems uncool. The Immigrant seems particularly guilty of this. Two Days, One Night looks moral choices and consequences squarely in the eye and comes down on the side of doing ‘the right thing’, even though it might take a while to understand what ‘the right thing’ is. Moral relativism might seem sophisticated and adult to some, but I find it lazy and adolescent. I am not advocating that movies should be like illustrations of The Lives of the Saints, but I do think it does take a certain maturity to make a moral choice in a film and the Dardenne brothers do this admirably. Plus, I think that The Immigrant was pretty sloppy, ugly and dull. But hey, that’s just me. You might love it.
4- I first heard about Ernst Lubitsch’s The Marriage Circle in one of Donald Richie’s marvelous books on Japanese films. This silent classic was a sensation when it first played in Japan. The Japanese were dazzled by the economy of Lubitsch’s visual storytelling and you see this subtlety in the films of all the great masters, especially Yasujiro Ozu. The film is a magnificent comedy of manners that holds up beautifully. I highly recommend it. The version I watched seemed to be taped in front of a live audience, which was a little weird. Any recommendations for a good commercial copy?
5- I have been working my way through the Criterion collection of the complete works of Pierre Étaix and my delight continues to grow. These films should be as well known as the works of Jacques Tati, with whom Etaix apprenticed. The Land Of Milk and Honey was his undoing in France. This ‘documentary’ of the French bourgeoisie on vacation at a ghastly resort earned the rancor of everyone and effectively ended his career. It is a cruelly critical look at a crass society, but it is so much fun. I think this film is his Peeping Tom, another unpleasantly wicked film that ended the career of the great Michael Powell I am still toying with the idea of a ‘Have You Tried Pierre Etaix….’ post in the near future. He is delight.