I. The Red Shoes (1948)
The Red Shoes is about the rise to stardom of a dancer Victoria Page (Moira Shearer) who falls under the strict control of one charismatic, but elusive and mysterious company director Boris Lermontov (Anton Walbrook). Page becomes truly famous after appearing in Lermontov’s ballet “The Red Shoes”, but soon finds herself torn between her new love – composer of “The Red Shoes” – Julian Craster (Marius Goring) and her professional life. The film is brilliant in terms of cinematography, camera-movements and visual impact. The beautifully-designed production and the ballet, that incorporates a story of one girl whose red shoes take control over her life, are memorable. The film also makes certain observations on the creative process of a theatre/ballet production, and on art and artistic input. It asks – what price a person will be willing to pay for the sake of artistic glory and full professional realisation in theatre/ballet? The story of one girl whose red shoes control her (a Hans Christian Andersen fairy-tale) mirrors the story of Victoria Page who, ultimately, has to choose between her romantic interest and her blind devotion to the demands of the man behind the “The Red Shoes” genius – Boris Lermontov. Continue reading “Recently Watched: Films: The Red Shoes (1948), West Side Story (1961) & Black Narcissus (1947)”
“People view child actors the same way that girls treat their Barbie dolls” (Mara Wilson, former child actress, Mrs. Doubtfire (1993)).” A child’s life is like a piece of paper on which every person leaves a mark” (a Chinese proverb). “Childhood experiences are very important to lifelong outcomes…“ (Andrew S. Garner, MD).
We all know past childhood or teenage horrors/troubles of such celebrities as Judy Garland, Macaulay Culkin, River Phoenix or Lindsay Lohan. We also know the examples of successful transitions from child actors to adult stars, such as the Harry Potter cast. The point is that the cinema industry has learnt much about the treatment of child actors, but it has also done so at a considerable cost, including in terms of human lives. In this post, I would like to highlight three child actors (some alive and some already dead) who were essentially let down by Hollywood, and their cases were really such that more effort and support should have been given to see these child actors’ transition to adult actors or adults with other careers – especially since so much was done by Hollywood to elevate them to their “star” status from their very young ages. Studios often became the children’s second home in the examples below, and since the children relied so much on that early expectation of praise and success (and money was made out of them), these children and then teenagers had to be helped later to deal with their expected career declines. There are those who blame the pushy parents, and I am not saying that personal factors or choices did not play a role in the cases below, but I also believe that no one should have forgotten that the actors below were also mere children, much more sensitive to their environment, praise and criticism than adults, and, thus, later, needing much more support and reassurance in their careers. Continue reading ““(Little) Stars in Their Eyes”: How Hollywood Makes and Breaks its Child Actors”
Little Joe (2019)
Little Joe is a British/Austrian/German-produced film that was selected to compete at the Cannes Film Festival 2019. In this story, Alice Woodard (Emily Beecham) works at a special laboratory that produces genetically-modified flowers for the public market. Alice and her team have managed to produce one type of a plant that requires much attention from their owners, but, in return, is alleged to “make them happy”. The story takes a disturbing turn when Alice takes one of those new plants (flowers) home, gifts it to her son, Joe, and begins to worry that the pollen that the new flower produces may be infecting people in a sinister way. Probably. If that sounds a bit random and confusing, it is because it is, and the film never makes anything in this story compelling or clearer. Though, at first, the idea behind Little Joe sounds intriguing and the memorable production design does leave an impression, overall, Little Joe is nothing more than a very preposterous, excruciatingly dull and badly-acted picture that, in comparison, will make any episode of a British series EastEnders an immediate Oscar winner. Continue reading ““Little Joe” Review”
I. Love, Antosha (2019)
“Anton was a dream” (Jeremy Saulnier, director of Green Room (2015)).
This is a moving documentary that explores the life of actor Anton Yelchin (Star Trek (2009), Green Room (2015), Thoroughbreds (2017)), from his birth in Russia to the champions of figure skating to his last films made. This is an engaging and respectful feature that aims to pay tribute to a person of outstanding acting ability who was taken too soon (died on 19 June 2016 when he was crashed between the brick wall and the fence when his car rolled back on him in his own parking space at home in Los Angeles). Through his own footages, as well as the interviews conducted with his parents, close friends and co-workers, we find out what kind of a person Anton really was – extremely devoted to his loving parents, loyal to his friends, kind, generous, curious, intellectual, funny, goofy and passionate about many aspects of life. He possessed great charisma and acting skills, having started acting at a very young age and then later acting alongside such stars as Anthony Hopkins, Robin Williams, Albert Finney, Jodie Foster and Willem Dafoe, to name just a few. It is safe to say that, given his talent, he was just on the brink of “breaking through” in his career and just needed that one very successful and big movie that will escalate his career much further, a movie that, sadly, will never now come. By recognising him as an absolute star now, we can at least pay tribute to this potential, to the person who was so passionate about acting and films (trying his hand at directing too!) and whose kind, curious and sparkling personality will always be remembered.
Continue reading “Recently Watched: Documentaries: Love, Antosha (2019), Tower (2016) & 13th (2016)”
The Oscars have again surprised the world, and, this time, thankfully, not because they gave an award to the wrong film. Parasite, a South Korean movie, has officially become the first foreign-language film to win the most prestigious award – Best Picture, a fact that is especially remarkable given that it was also nominated in the Best Foreign Language Film category and won there too. The Oscars have also been overly “white” this year, did not recognise some (more art-house) films and acting which are also deserving of praise and nominations (that acting in “The Lighthouse“!), and, for the year that is supposed to celebrate women in cinema-making and acting, did not acknowledge great acting and films made by women (for example, no women nominees in the category of Best Director). I will only very briefly comment on the 2020 wins in the following categories: Best Picture, Best Actor, Best Actor in the Supporting Role and Best Cinematography. Continue reading “The Academy Awards 2020: Some Commentary”
Christmas is getting nearer, and I hope everyone is excited! People are probably also excited about Disney’s Frozen II, and, for those who do not know, I want to draw attention to the plagiarism case below, concerning the Frozen (2013) teaser trailer (the first video below) and the short animation titled The Snowman by independent animators Kelly Wilson and Neil Wrischnik (the second video below – access by following the link since it is imossible to watch it on wordpress)). This case was settled out of court in 2015. I previously talked in my review of Frozen how the animation relied heavily on the conceptual story and character vision from Hans Christian Andersen’s tales (which is fine), as well as on the romance from Anastasia (1997) (which is also ok), but it seems that, from the very beginning, the Frozen franchise was off to a start that involved blatant stealing and zero acknowledgement. At the preliminary hearing, Judge Chhabria ruled that “the sequence of events in both works, from start to finish, is too parallel to conclude that no reasonable juror could find the works substantially similar“. With the world’s most creative brains at Disney/Pixar headquarters, they still could not come up with their own concept for a teaser trailer. The similarities are painfully evident, and if Disney did not think so, they would have battled it in court, rather than settling for an undisclosed sum to be paid to Wilson and Wrischnik. And, Wilson and Wrischnik were paid by Disney.
Continue reading “Too Much “Let It Go” and Not Enough “I’m Sorry”? Disney’s Frozen (2013) Teaser Trailer Is The Definition of Plagiarism On Screen”
Parasite or Gisaengchung is a South Korean dark comedy-thriller from Bong Joon-ho (Okja ((2017)) that won the grandest award at the Cannes Film Festival 2019 – Palme d’Or. I can now happily report that this was a much deserved win and Parasite will be my best film of the year. This film must be seen to be believed – it has been a long time since I enjoyed a movie that much. In Parasite, a Kim family, consisting of a mother, father, daughter and son, is unemployed, poor and living in a basement of one derelict building. Their son, Kim Ki-woo, meets with his old friend and the latter offers him a chance to tutor for awhile one girl of a rich Park family. Kim Ki-woo successfully “infiltrates” the rich Park family, presenting himself as a knowledgeable and strict teacher, and, while doing so, does not forget about his family at home, trying to also secure for them employment positions in the Park family. What follows is the unbelievable chain of events with twists along the way. Director Bong Joon-ho is both subtle and outrageous in his direction and writing, as he tries to satirise a situation whereby two opposite segments of society (the rich and the poor) make a contact that leads to unexpected reactions and a delightful whirlpool of the funny and the macabre. Exquisitely and stylishly presented, Parasite is both darkly hilarious and delightfully shocking, setting a new sky-high standard for black comedy – the style of Bong Joon-ho. Continue reading ““Parasite” Review”
Directed by Todd Phillips (The Hangover (2011)), Joker is a latest, much-hyped movie starring Joaquin Phoenix (The Master (2012)) in the titular role of Arthur Fleck or Joker, a stand-up comedian fallen on hard times, who resorts to violence in Gotham City to avenge wrongs allegedly committed against him. Being supported by no other than Robert De Niro (a role reversal from The King of Comedy (1983)), Joaquin Phoenix gives the performance in Joker than can only be described as manically jaw-dropping in its brilliance. The character insight and portrayal are also bold, vivid, without holding anything back, as the film tries to explore the origins of Arthur’s homicidal tendencies through his early history and its revelations. However, unfortunately, if we then shift our attention to anything that is not Phoenix or the character study, we can see a number of problems in the film, including the inability to suspend disbelief regarding major plot developments, the sheer predictability of the plot, and the imbalance in the spotlight given to the minor characters vis-a-vis the main one. Joker is a kind of a film that is made up solely out of one character study and cannot show anything for itself apart from its character study and the brilliant performance. If Joaquin Phoenix is not there, there is no film (thankfully, Phoenix is virtually in every shot). Why should that be a problem? Building a film around a character study is one thing, but having a “film” that is nothing but a very “self-important” character study is something completely different (because, in this case, the film seems more like a shameful star-vehicle). There is no Joker, without the Joker, it is true, but when there is nothing but Joker and everything else (not much) in the film is either very awkward, very predictable, very questionable or very puzzling, then there is simply no great film. Continue reading ““Joker” Review”
25th Hour (2002)
Today (11th September) marks 18 years since the 9/11 terror attacks in New York, USA, and I thought I would review a movie that incorporates the post-9/11 atmosphere – Spike Lee’s film 25th Hour – as a tribute so that we never forget what happened and what it meant. Spike Lee (Do The Right Thing (1989), BlacKkKlansman (2018)) based his film on a book by David Benioff that tells of Montgomery “Monty” Brogan (Edward Norton), a man with a criminal history, who has just one day to enjoy his freedom before he goes to jail for seven years for drug-related offences. We follow Monty on this day, as he reflects on his past and the mistakes he had made in his life. With the beautiful score by Terence Blanchard, 25th Hour is a film that showcases the post-9/11 grief and anxiety to the fullest, while also demonstrating the extent people are pushed to lead a better life. Copying with grief and coming to terms with tragedy and one’s life mistakes are just some of the issues explored. 25th Hour may be too long, not entirely cohesive and thin plot-wise, but, with its vivid images, it somehow seems to speak directly to one’s heart and soul, being a film about hope, guilt and attempts at redemption, making it somehow very significant. Continue reading ““25th Hour” Review”