The Name of the Rose (1986)

 

Off-List: The Name of the Rose

The third off-List movie of 1986 is “The Name of the Rose”. The is a movie I remember watching and liking back in the nineties, based on a book by Umberto Eco that I also liked tremendously. I do not remember which I experienced first. To me the two memories have blurred together and that to me is a sign of a successful adaptation.

It is the year 1327 (before the great plague) and church people of several orders a meeting at a renowned but remote monastery in the mountains of Italy. The point of the meeting is to discuss what sounds like a trivial detail, but something these church people find tremendously important. One of the visitors is William of Baskerville (Sean Connery), a Franciscan monk with a novice, Adso (Chistian Slater), the narrator, in tow. William has a reputation for solving mysteries so when monks are mysteriously dying in the monastery, the Abbot (Michael Lonsdale) asks William for his help, especially as the timing with illustrious visitors coming, is not so great.

William is indeed quite the detective and by applying logic, observation and what went for science in those days, he is making progress. He is not helped, though, by the fact that the deaths seem to be following the prophecy of the end of the world and that voices in the monastery, especially the old, blind monk Jorge (Feodor Chaliapin Jr.), are busy calling it the work of the devil or God’s punishment. Things are not getting easier when the inquisition arrives in the form of Bernardo Gui (F. Murray Abraham), an old enemy of William and a man good at finding easy and convenient solutions with the help of torture and superstition.

The clues are leading William to the secret library of the monastery. It is hidden inside a labyrinth in a colossal tower. There is a book here that seems to kill and William is set on finding the answers despite the opposition he is facing. While Bernardo Gui is busy burning heretics and witches, William and Adso are fighting for their lives in the tower.

It is possible to reduce “The Name of the Rose” to a detective story and it would still be an exciting one. William of Baskerville is a hint at both William of Occam (Occams razor!) and Sherlock Holmes. Add some James Bond and some gory murders and we are pretty much home.

But this is so much more. There is a lot of authenticity in the sets and the environment and for a history buff like me this is first rate. This is dirty and grimy and with a sense of detail that feels real. Not the Hollywood interpretation of medieval times, but the ugly reality of actually going back there.

Mostly, though, “The Name of the Rose” introduces to us some of that religious idiocy that was so pervading in those times. William’s deductive methods are completely at odds with the church tyranny of Bernardo Gui. The sentiment that knowledge should only be preserved, not developed and that some knowledge is too dangerous because it might challenge church authority are so symptomatic of the infallibility of religion and the sway the Catholic church had over people of the time. It is not terribly different from other totalitarian systems throughout history, but sometimes you need to see it play out in a remote historical setting to really appreciate the scope and consequence of it. It is horrific and unfair, it is a power play and it is a lose-lose situation in which the individual is powerless. The peasants are depicted as dirty brutes, wallowing in their pigsties of hut, never speaking but in grunts. It is the perfect picture of how the monks in their arrogance are looking down on the peasants and demonstrate perfectly their hypocrisy when they themselves are squealing around like headless chicken in the face of the threat of the devil among them.

It is quite clear what the position of the movie is on the church, and this is also how I remember Umberto Eco’s book. Yet there is this love of the detail, of the achievements of the monasteries and the culture they did represent without which this story would never have been made.

This is a clever movie that requires something of its audience and gives back so much. There is an intellectual element here that makes this a rewarding but also frightening experience to watch. Dogma is dangerous at any time, but especially religious dogma when religion has the power to enforce its will.

Needless to say, this is still a fantastic movie and one that has not lost a step since 1986. I am surprised to not find it on the List, it really does belong there and at least I can include it on mine.

The Decline of the American Empire (Declin de l'Empire Americaine) (1986)

 

Generationen der blev væk

It took me quite a while to wrap my head around “Le Déclin de l'empire Américain”. Not that I did not understand what was happening and I did find it funny, but the big why was eluding me. I may have come closer, but it is just possible it is one of those movies you respond to without knowing exactly why.

On a summer day outside Montreal, we are following two groups. The men, Remy (Rémy Girard), Pierre (Pierre Curzi), Claude (Yves Jacques) and Alain (Daniel Brière) are preparing a dinner party at the home of Remy while the women, Dominique (Dominique Michel), Louise (Dorothée Berryman), Diane (Louise Portal) and Danielle (Geneviève Rioux) are at the gym.

All eight are associated with the university, mostly on the faculty and all of them consider each other friends. With two exceptions, they are rapidly approaching middle age.

For the bulk of the movie, we listen to the conversations of the two groups, which in both cases revolves around a single topic: Sex. Most of them seem happy to share their philandering which covers every variation under the sun. Remy and Pierre stand out for having an entire industry of affairs, including within the friend group, with the only difference that Remy is married (to Louise).

As the stories are told, we see them in flashbacks and it is clear that many of the women’s stories feature Remy, though nobody tell Louise. She knows he has something going when he is travelling, but is certain she is enough for him when he is in town. That does not prevent her from having affairs though.

Claude is homosexual, but not particularly different and Danielle actually work as a prostitute next to her history studies.

For the last third of the movie the two groups meet for a dinner party and a few revelations.

The thing that strikes me with this movie is the gap between talk and reality. All their talk is of fantastic sex and adventurous escapades, yet when we see what actually happened it is usually less than fantastic and Remy, the usual male act, is rather pathetic and hardly a Don Juan. In fact, the sex and affairs seem more out of boredom than anything else.

Secondly, they all talk about sex and affairs as very liberated people. As if everything is fine. Yet, when the price comes, when the infidelity is revealed or in Claude’s case, a mysterious sickness, the pain and the regrets are the same as any other person. Pierre is happy screwing around left and right but he knows he will never get any children. The carelessness is not at all as careless as they want to make it seem.

Maybe the hypocrisy is what makes the movie funny or maybe it is that schadenfreude that these privileged people with their high ideals and liberated talk are as vain, stupid and conventional as the rest of us.

For me, that last part when they have to face up to reality was the bast part and it did make me laugh quite a bit. As comedies go, this is more high-brow than the common fare and requires more of the viewer. Especially, it is important to follow the dialogue. But it is a rewarding movie to watch, and I understand it spawned a few sequels, whom I only know by title, but will be inclined to watch.

I also was a bit envious of the meal they were having. That dish looked good.

She's Gotta Have It (1986)

 

She's Gotta Have It

Everybody starts somewhere and for Spike Lee, it was with “She’s Gotta Have It”. Or, at least this was his first feature length movie. As most such debuts, it is a low-cost affair, but one with a lot of qualities. It is also a sort of comedy, something I did not see coming.

The movie is aimed at explaining a woman called Nola Darling (Tracy Camilla Johns) and alternates between interviews with the characters and the actual story. In this manner it foretells the much later style of reality TV. The special thing about Nora Darling is her sex life. Rather than the usual serial monogamy, Nora practices parallel polygamy. At any time, Nora has several partners openly, mainly for the sex.

Suitor 1 is the gentle and polite Jamie (Tommy Redmond Hicks) who adores Nora and is ready to commit himself fully to her.

Suitor 2 is the street-smart but gangly Mars (Spike Lee himself), who is fun, or tries to be, but also rather needy.

Suitor 3 is the wealthy male model Greer (John Canada Terrell) who may have the looks and money, but is very much impressed with himself and rather intolerable.

Nora is enjoying being with all three of the men, but the men find it very hard to accept to share her with the others. Half their talk with Nora is trying to impress her, in their specific style, and the other half is complaining about her other men. From the general portrait of Nora, we learn that she has difficulty committing herself to anything but prefer to float around between things and just take what is coming. Pretty much like her relation to men.

Of course this must come to a head at some point, and the conclusion may be considered surprising except that it drives the point of the movie.

 It was a surprise to me that this was a comedy. The Spike Lee movies I know tend to lean on the heavy side, but this one is a lively affair with some pretty outré characters and situations. The narcissistic Greer is a hoot. Every time he opened his mouth I was giggling. Lee himself as Sam is also a comical character though on a slightly more subtle level and in both cases, it is amusing to see how Nora uses them. They appear super cool but are really dupes.

With Jamie it is different. His character does not play for comedy, but represents something else. He is the good guy, but understood in terms as the conventionally good guy. He is the person with the right opinions, saying and doing the right things, but those conventional values is everything Nola is not, and this is where the movie gets interesting. Who is it that says that Nola’s way of life is wrong? It is unconventional, but is conventional right? The normal story we get is that men are allowed to stray outside conventions, but here it is a woman and she is strong enough to stick to it. What we are challenged with is if conventions are really right. Should Nola conform or should the world accept Nola? And if something is okay for, why not for women?

The style of “She’s Gotta Have It” is gritty in its black and white cinematography and the documentary tone goes a long way to cover up and make believable the less than stellar acting performances. This feels like a movie made by friends on a shoestring budget, but in a wrapping that makes this acceptable, even preferable and supports the veracity. This looks like reality TV long before that was a thing.

Spike Lee has been called the Woody Allen of Afro-American cinema, and I can definitely see that. Everything from soundscape to cinematography and script screams New York, and this is a New York not that different from that of Woody Allen.

A very strong debut of Spike Lee. I look forward to watching his other movies on the List.

  

Short Circuit (1986)

 

Off-List: Short Circuit

The second off-List movie for 1986 is “Short Circuit”. I am of the general opinion that there are far too few comedies on the List, and I have a soft spot for these eighties comedies even if they do not necessarily qualify as great. “Short Circuit” was a big movie for me in my childhood, and I think it holds up better today than most comedies.

At the commercial research facility Nova five autonomous military drones are presented to the military. As this is the eighties, the drones are semi-humanoid with tracked drives and a face like a Mars rover. They are also mounted with a high-powered laser of Star Wars strength. The military is impressed with their capabilities but in the aftermath one of the drones are hit by lightning which resets its memory and does... something else. Like Frankenstein, the lightning seems to have imbued the drone with life. The drone, Number 5, goes AWOL and through accidents finds itself lost in a food truck.

The owner of the food truck, Stephanie (Ally Sheedy), first take the drone for being an extraterrestrial alien, but by the time she realizes it is a military robot, Number 5 has convinced her he is something more.

Meanwhile, the Nova facility is in an uproar. The top manager, Howard Marner (Austin Pendleton) is keen to get his expensive hardware back. His head of security, Captain Scroeder (G. W. Bailey), is eager to blow up the drone with excessive force if necessary. Engineers Newton Crosby (Steve Guttenberg) and Ben Jabituya (Fisher Stevens) want to secure the drone unharmed as their precious creation.

And so, the hunt begins. Who will get the drone or will Number 5’s newfound intelligence and newfound allies save it?

What makes “Short Circuit” such a charming movie is the character of Number 5. He is naive as a child, smart as a genius, but also lovable as a human being is supposed to be. This, being a “good person”, more than anything makes it the heart of the movie and then it does not hurt that it is funny to boot with a pile of great one-liners it clearly learnt from trashy TV shows and has very expressive “eyebrows”. Movies, especially Hollywood, has classified the “Alien” as either a scary and powerful danger (“The Terminator”) or the lovable creature teaching humans on what it means to be human (“E.T.”). Number 5 is clearly in the second category although it is created as belonging to the first. The transition is attributed to it “becoming alive”, but is really by equipping it with humanity.

From a comedy point of view, it was a scoop to make G. W. Bailey be Captain Scroeder. He is essentially the same character he played in “Police Academy” and that makes him a fantastic butt of the jokes and pranks pulled on him. It is tempting to see Steve Guttenberg in the same light, but rather than being a street-smart romantic, he is being the isolated, shy engineer. It is difficult for Guttenberg to be entirely convincing in this role, but he gives it a shot. His scenes are, however, usually stolen by Fisher Stevens who, in Indian brownface, mess up the English language every time he opens his mouth. I know it is hopelessly politically incorrect and I should be cringing badly, but it is hilariously funny.

“Short Circuit” is fantastic family entertainment. That category of films has since then suffered badly and the label today is more a warning to stay away than anything else, but forty years ago it was possible to make good family movies. As a thirteen-year-old boy I loved the movie and loved the charming robot and today, 39 years later, I still love this movie. I find different things fun and charming, but it is the same magic. In an age of drone warfare and AIs and autonomous driving this is a surprisingly relevant movie and it is great with a positive spin for a change on those topics.

Take your children to watch this movie. You will all get something out of it and likely have a good time.

 

Hannah and Her Sisters (1986)

 

Hannah og hendes søstre

Before this project, if asked what a Woody Allen movie is like, I would have described it as something akin to “Hannah and Her Sisters” despite never having watched it before. And precisely for this reason I would not voluntarily have sat down to watch one. Today, my opinion on his movies is more nuanced with some of them actually being among my favourites, but I am afraid “Hannah and Her Sisters” will not make it to that status.

The setup is a group of people in New York (of course) centred around three sisters, Hannah (Mia Farrow), Lee (Barbara Hershey) and Holly (Dianne Wiest). There are three main story arches and the movie switches between the three of them and let them meet at various points.

In one of these lines Elliot (Michael Caine), Hannah’s husbond, is trying and succeeding in having an affair with Lee. Elliot is basically a horny middle-aged man and when he realizes what he has done he is caught in a pickle of remorse and indecision but at least it made Lee leave the intolerable Frederick (Max von Sydow), a man incredibly impressed with himself.

Holly is a washed-up ex-drug addict. She is trying to become an actress (of course) and fails. Her attempt at catering goes south when her partner, April (Carrie Fisher) takes both her prospective boyfriend and acting assignment. Only when she turns to writing, it seems to work for her, except those around her clearly blame her for witing about them.

Finally, Hannah’s ex-husband, Mickey (Woody Allen) is going through a crisis when he thinks he has a brain tumour. Mickey is Allen classic so he is super neurotic, super self-centred and talking like a waterfall. When he learns there was no tumour, he quits his job at a television show and starts to look for the meaning of life.

The key word all round is that all these characters are insufferable. Everything is about themselves, their personal needs, their personal animosities and their need to be recognized. Some of them are weak, like Holly, some are strong like Frederick, and some are even somewhat amusing like Mickey, but they are all clowns, and their lives seem to balance on the edge of self-inflicted disaster.

For me, this makes it very difficult to relate and sympathize with any of them and I know it is me misunderstanding the purpose of the movie. This all plays out for comedy, and we are supposed to laugh at all these people making a mess of their (and each other’s) lives, but I usually have a problem with that sort of comedy and instead look at the characters with a mixture of dislike and pity. Underneath this attempt at comedy, I sense the tragedy of self indulgence.

What does work here is the scenery and the soundscape. Both are, again, Allen classic. This is more New York than “Sex and the City” and the soundtrack has that jazzy thirties vibe Allen is so well known for. We all know he is in love with the thirties, and this is just another proof.

It is also an impressive cast we get here, a cast that, except for Allen himself, is acting against type. Caine is literally pathetic, von Sydow is arrogant beyond belief and Maureen O'Sullivan, as the mother of the sisters, is a loud alcoholic. They do it all very well as do the girls. I just do not like their characters.

“Hannah and Her Sisters” went on to win three Academy Awards (Michael Caine and Dianne Wiest for supporting roles and Allen for Best Original Screenplay) and was nominated in another four categories including Best Picture, so clearly somebody liked it better than me.

To me, the highlight was Woody Allen trying to join the Hare Krishna. That is actually a funny thought.

 

Blue Velvet (1986)

 

Blue Velvet

It has been quiet here on my blog for the past few weeks. We have been moving into a new apartment, so movie watching has been taking backseat while we are getting ourselves installed. To top that off, we spent last week in Prague and visited, among many other things, a David Lynch exhibition. It is therefore very fitting that the next movie on the List is his “Blue Velvet”.

I like watching David Lynch’ movies. There is almost always an underlying mystery and while I know I will never fully understand it, this mystery provides a depth that goes far beyond the apparent story. In this respect “Blue Velvet” is middle of the range. It is more complex than “The Elephant man” and “Dune”, but not as obscure as “Eraserhead” and “Mulholland Drive”. It is sort of on par with “Twin Peaks” and that is not the only similarity with Lynch’ famous TV-series.

Young man Jeffrey (Kyle MacLachlan) has returned to his hometown because his father had an accident. Left with little to do, he is sent off on an adventure when he finds an ear near his home. The police detective (George Dickerson) is a friend of his father, and this leads Jeffery to Detective Williams’ daughter, Sandy (Laura Dern). Jeffrey is fascinated with the mystery and when he learns that this may be related to nightclub singer Dorothy Vallens (Isabella Rossellini), he finds a way to enter her home.

Soon, Jeffrey is in way over his head. Dorothy is at the mercy of a brutal and rather unhinged man called Frank (Dennis Hopper) who seems to have kidnapped her son to keep her submissive. Jeffrey is getting close to Sandy, but also attracted to Dorothy whom he wants to help and in the middle of this is Frank. It is a rabbit hole, and the deeper Jeffrey gets into this hole the stranger and more disturbing it all get.

As a criminal mystery this is a slow burn with a plotline that appears fairly straight forward, but things are happening that are anything but straight forward. The world of Frank is a dark place, populated by strange and awkward types and feels almost unreal. Not everything that happens here makes sense and it seems to be spilling over into the outside world. Who is inside it and who is outside? It is quickly clear that something else is going on, something that may have little to do with the apparent story.

I make a point of not reading other viewer’s analysis of what is going on before writing these reviews and you may want to skip the next session if you want that mystery for yourself. On the other hand, my analysis is far from complete and I may be totally wrong, so what is the harm?

Sandy and Dorothy seem to represent two opposites. Sandy is virginial and pure, innocence personified while Dorothy represents the dark, fallen and spoiled. She is sin, blood and sex, but she is also a victim. Jeffrey is attracted to both as if they represent two opposing parts of him, the civilized and pure and the almost bestial lust and craving. Dealing with these two women is Jeffrey coming of age so to speak, finding himself. The Id and Super-ego in Freudian terms.

Frank is a demon, the devil maybe. His world is depravity and violence, breaking the rules and temptation. He has Dorothy in his power and he is threatening to swallow Jeffrey. The place Frank takes Jeffrey is a demonic parallel world disassociated from the surface world and the staircase to Dorothy’s apartment is the entrance to this hell, but also a portal for Jeffery to realize his subconscious desires.

With Sandy it is usually daytime and bright colours. There is an ease and happiness to those scenes, while all scenes with Dorothy, and particularly Frank, are  night scenes with a lot of red and heaviness. There is a lot of symbolism here that could be heaven and hell, but is more likely the civilized consciousness versus messy and dark subconscious. Where the two meet things get truly messy.

If this all sounds like Twins Peaks, I do not think that is a coincidence. A lot of the imagery and themes are the same, the soundscapes are similar and even the role of Kyle MacLachlan is almost the same. This is truly Lynch territory.

I think there is something about the ambience of Lynch’ movies that appeals to me. As a viewer, I am placed in that mysterious and ominous place that is scary but also strangely fascinating. I watched the first season of Twin Peaks back in the day in the middle of the night on a hospital and that totally works, for the record. “Blue Velvet” takes me to that place and therefor it ranks pretty high with me.

Definitely recommended.

Take It Easy (1986)

Off-List: Take It Easy

The first additional movie for 1986 is the Danish pick. I ended up selecting “Take It Easy”, although I had never watched it before and selecting it solely from its interesting premise. In hindsight, I probably should have selected a different movie or skipping the Danish pick altogether for 1986.

It is the summer of 1945. The war in Europe has just ended and peacetime life is bubbling out like spring after a long winter. In the jazz bar “München” in Copenhagen, the local jazz band led the famous (in Denmark at least) pianist Leo Mathisen (Eddie Skoller) is setting the beat to the party. The patrons include rich and poor, quite a few American and British soldiers and our “heroes”, Herbert (Nikolaj Egelund) and Allan (Martin Elley).

Herbert and Martin are high school students who are more busy enjoying life than taking care of their school. They are black marketeers, which partly explains why they hang out at “München”, they chase girls, another reason, and especially Herbert wants desperately to be a jazz drummer.

To finance this ambition, he needs money, and his scheme is to rob his single mother (Helle Herz) of her valuables, selling it to the foreign solders for contraband and selling that at München.

I understand quite well that the movie is trying to give us the explosion of life after the war. Love is in the air, not just among the randy youth. Music is everywhere. Hope and optimism as symbolized by the vibrant summer pictures. Herbert and Allan are in that respect exponents for this invigorating springtime, they feel like kings to whom everything is possible and I suppose we should be loving them for it.

The problem here is that particularly Herbert is completely without a moral compass. One of the patrons at München is accusing him of lacking respect, but it is a lot worse than that. Herbert is a nihilist or maybe a narcissist who has eyes for only his own pleasure and ambition and cares nothing for what is right or wrong or other people’s feelings. That may be a good description of the average teenager, but with Herbert it is taken to the extreme and that is the essential problem with this movie. How can we care for a person who cares for nobody but himself?

I will not list all the many examples Herbert gives us of this nature, that would be tedious and pointless, but trust me, it is everywhere. What takes the cake though is when he sells his pianist mother’s beloved Steinway piano to get money for his drums. Although his friends convince him to get the piano back, his efforts are half hearted and rather than console his devastated mother, he goes to enjoy himself at the jazz bar.

For half the movie, I am waiting for two possible, redeeming outcomes: 1. Herbert get his comeuppance or 2. Herbert realize what an ass he is and aims for some self-improvement. We get nothing of the kind. Instead, the movie just ends...

I do not like Herbert one bit, but I am supposed to, and the movie cannot convince me.

This is a pretty important point against the movie. What does work though is the portrayal and atmosphere of the post-war period and especially the jazz music. For a Dane, much of the music played at the club are classics. Oldies, but classic, nonetheless. If this was enough to carry a movie, this would be a good movie. Unfortunately, it is merely background to what I can see only as a terrible story.

I do not think I will recommend “Take It Easy”.

 

Stand by Me (1986)

 

Sammenhold

“Stand by me” is based on a Stephen King story that was not in the horror genre, which in its own right is worth notice. Instead, it is a coming-of-age story made into a movie by Rob Reiner. Something also worth of notice. Rob Reiner has made a lot of very strong movies, and this was still early in his career.

In present day, writer Gordie Lahanche (Richard Dreyfuss, Will Wheaton) is reminiscing about an incident in his childhood (1959) where he and his friends went to see a dead body.

It is summer and the boys Gordie, Chris (River Phoenix), Teddy (Corey Feldman) and Vern (Jerry O’Connell) are hanging out in their treehouse (and a really cool treehouse at that). Vern has overheard his older brother talk about a body of a local boy left in the woods and so the boys decide to check that out. It is a long hike through the wilderness and when they finally get there, the body is “contested” by a group of older (and menacing) boys led by the scary Ace (Kiefer Sutherland). That is really it.

The real story however is what is happening with the boys on the walk to the body. It is quite literally an odyssey, both externally and internally.

On this walk the boys are facing a number of challenges. They escape from a junkyard owner and his menacing dog, they narrowly avoid getting run over by a train, they fall into a swamp where they get attacked by leeches and they spend a harrowing night, sleeping and standing guard in the woods before the final challenge in front of Ace.

The interesting journey however is the internal journey the boys are taking. Throughout the movie we listen to their banter and silly talk, but enmeshed in all this is a lot of uncertainty. Teddy is upset because his father is considered mentally ill and it is somehow rubbing off on him. Vern is insecure about everything. To him, just keeping up with the other boys is a victory all on its own. Chris is commonly considered a bad boy out of a bad family and the stigma is very oppressive. He is convinced he will be stuck in that role and that freaks him out. Gordie, himself, has a double problem. His brother Denny (John Cusack) has recently suffered a tragic death and though not outright blamed, Gordie clearly feels that his father would have preferred him to have died instead. Gordie is bookish and an aspiring writer, something his father has no interest in. This also means that Gordie will likely not take the same classes as his friends in the coming years and he may lose them.

Each of the boys will come to terms with their failings before the end and come out of this as better versions of themselves, so when they face Ace and his gang at the end, they know they have each other’s back. Well, at least Gordie has Chris back.

A story like this could be rather tedious and heavy handed. Both the coming of age and the odyssey themes are very old and classic, but, somehow, they are elegantly woven together here so I only realized near the end what was actually going on. Rob Reiner can probably take a lot of credit for that, but so can the four boys playing the protagonists. There is an ease to them assuming their roles that makes me believe that they really are those characters. When you think child actors, the natural reaction is to roll the eyes, but these four are very convincing and the selling point is the ease of their banter and the way they interact.

I also like very much that the tone never gets sentimental or outright silly. It is a balancing act to keep it real and you can sense that at times it must have been tempting to drive it a bit in one or the other direction. Gordie’s loss of a brother or Vern’s hunt for his penny treasure, but it never crosses the line and that makes the story very believable, and this is why I as a viewer care about these boys.

“Stand by Me” did not win a ton of Oscars and I had personally never heard of it before, but in my research, I found that this movie has been hugely influential on a lot of other filmmakers. When Jules and Vincent in “Pulp Fiction” go on and on about French burgers and what not, it is a direct reference to “Stand by Me”.

Definitely a positive experience.

  

The Color Purple (1985)

 

Farven Lilla

“The Color Purple” was Steven Spielberg’s attempt to move away from the youthful action and adventure films he had become famous for and try his hands on more serious and “adult” topics (as he called it himself). The story he chose is based on the novel of the same name by Alice Walker and there are plenty of adult themes here for his hands to work on. Incest, domestic violence, racism and poverty to mention a few.

Celie (Desreta Jackson / Whoopi Goldberg) and Nettie (Akosua Busia) are sisters in rural Georgia in the early twentieth century. Their father is abusive and as the movie opens Celie is giving birth to a child fathered by her own father, only for the child to be given away immediately.

Celie is given away as a bride to Albert Johnson (Danny Glover), whose first wife has died. Albert is just as abusive as Celie’s father so no news there, and she is as much a maid (or slave) in Albert’s household as anything else. Nettie runs away from the father and seeks shelter with Celie, but when she refuses Albert’s sexual advances, he kicks her out, kicking and screaming and even hides the letters Nettie writes to Celie over the years.

During Celie’s long “marriage” with Albert two sub-stories are in focus. Albert’s son Harpo (Willard Pugh) marries Sofia (Oprah Winfrey), a strong and stout woman who will not stand for the kind of treatment women gets in this household. She walks away with her children but eventually returns. She also gets 8 years in prison for refusing to become the maid of the white mayor’s wife.

The second story is that of Shug Avery (Margaret Avery). She is a free spirit performer who is chased by Albert. Eventually she moves into the household and befriends Celie. Over the years she seems to be coming and going a few times.

 As is clear from the above, this is a gruesome story with hardships and abuse all around. Starting out with Celie’s father siring children on his own daughter, arranged marriage, an abusive husband, racism and effective slavery. There is plenty here. In the hands of a realist filmmaker this could be a crushing movie.

Steven Spielberg is great, but he is not that kind of filmmaker. In his hands everybody comes about as... morons, as caricatures. He brought in a levity, an almost comic element, which I suppose is intended to make the movie watchable, but which I feel is mocking the characters. Rather than evil or mean, the abusive characters, whether they are the men or the white people, become clowns and fools. Yes, they certainly are fools, but that harmless veneer removes the edge of the movie. In the same vein, the black women, who are universally the victims of the story are getting a silly and hapless edge which seems to say that they are in their predicament because they are too stupid to free themselves and that is deeply unfair to the characters.

I have not read the book so I cannot tell if this actually originates there, but my suspicion is that this is the Spielberg touch and if that is the case, I think he may have been the wrong director for the movie.

His focus appears to be having Celie sit all this out patiently and overcome her hardships in a final rebellion. That is Spielberg Classic, but, I think, not really the story that needs to be told here.

There is plenty of production value her, though. The pictures are beautiful, and the acting is first class. Goldberg at the centre delivers a stellar performance and you can tell a lot of thought has gone in to recreate the era. If anything, it is almost too smooth. This is a story that may have benefitted more from a grittier production.

I suppose “The Color Purple” deserves credit for taking on the serious themes of this story. They are important, both in a historical context and in the present day, but I am not certain they were done a great service here. There is an edge missing that ultimately leaves me a bit disappointed. Spielberg would eventually make up for these flaws with “Schindler’s List”, but with “The Color Purple” the Spielberg touch missed the mark.

Manhunter (1986)

 

Manhunter

At this point I should have been reviewing “The Color Purple”, but when I inserted the DVD, I quickly realised I had bought the remake instead of the original. While I look for the right version of the movie, I am jumping ahead to 1986, to “Manhunter”.

“Silence of the Lambs” was not the first time Thomas Harris’ “Red Dragon” was made into a movie. Six years earlier, Michael Mann did his take on the story. One that, sadly, is now mostly forgotten.

The story is pretty much the same as in any of the other versions of the “Red Dragon” novel. An insane serial killer is on the loose (Tom Noonan). The FBI agent (William Petersen as Will Graham), searching for the murderer, consults criminal mastermind and monster superior Hannibal Lecktor (Brian Cox) in his attempt to get into the mind of the killer.

The main difference is the emphasis in “Manhunter” on the police procedure and less on the gory details and with a much-reduced part for Dr. Lecktor. To my personal taste this was a good decision, but also likely the reason the later movies are very much popular culture and “Manhunter“ is not.

Graham has retired from the bureau when his former boss, Jack Crawford (Dennis Farina), brings him back to do his magic again. Graham’s speciality is to get into the mind of the murderer and use that to stop him but when he did just that to catch Hannibal Lecktor, he suffered a nervous breakdown and retired. Needless to say, Graham’s wife is not happy about him going back to work.

The murderer apparently kills an entire family every full moon in the most gruesome manner. To all appearance, nothing connects the murdered families, but clearly it is the same murderer. The FBI follows every clue possible, and Grahams immersive work keeps producing hints for the police to follow. His consulting with Lecktor has the unpleasant consequence that Lecktor and the murderer starts to cooperate, endangering Graham and his family personally.

This is all about the chase. The clues, the police procedures, the attempts to lure the murderer out and the clock ticking until next full moon and a new victim. It is highly detailed and sometimes a bit difficult to follow, but wonderful with such attention to actual police work.

The second focus, of course, is how Graham gets swallowed up in the nightmare mind of the murderer. While Mann tries to make a lot out of that, I do not think it is being taken as far as the following movies and that means that the Lecktor element, while prominent, is not played as hard as in the later movies.

Instead, there is room for the Tooth-fairy, as the murderer is known as, and he is one sick person. The scenes where he takes his blind colleague Reba McClane (Joan Allen) home are creepy way beyond what is actually shown through what is hinted at.

 “Manhunter” is very much a movie of the eighties. The soundtrack, the dialogue and the editing, all make me expect some wobbly VHS effects. It is almost as if the budget is not quite enough for what it wants to do, but most of that is simply because it is older than the movies I would compare it to.

I am not certain why we need so many versions of this story, but this one at least scores points for being the first and it is really not bad at what it does and deserves to be remembered.

 

Shoah (1985)

 

Shoah

Over the past few weeks, I have been watching “Shoah”. It is a lengthy affair on a very tough subject, so it took some time to get through. I was joined by my wife who has a more direct connection with the Holocaust than me.

From 1975 to 1985, the French journalist and filmmaker Claude Lanzmann gathered first hand testimonials on the Holocaust from people who were there. Holocaust survivors, Polish neighbours and even from the Germans who ran the infrastructure (camps, trains, the ghettos). From this mountain of material, he pieced together this remarkable documentary.

It is a very authentic documentary in the sense that we hear the story told exactly like Lanzmann heard it. There is no filter, no re-enactment, no stock footage, no explanation of context beyond a few subtitles. This is simply a collection of testimonials. Lanzmann interviewing people and their answers.

And what testimonials they are! The stories told are the stuff of nightmares. It is experiencing the extermination of a people first hand. The industry of killing people, the horrors of sending people to their deaths and shovelling them first into mass graves and later into crematories. The Holocaust survivors are clearly damaged people and more than once they break down when they recollect their past.

As a collection of first-hand witnesses, this is a very important movie and my wife told me she learned a lot she did not know and so did I, though I have not watched through half the amount of Holocaust material she has. There is a nakedness here that makes this movie an experience I will never forget, though it conjured up images in my head that I would wish I could unsee. This is horror in its most undiluted form.

There is no doubt that “Shoah” is a commendable achievement in terms of material.

As a movie, though, it is a train wreck.

The price of giving us the first-hand experience of the interviews is that we witness everything. The pauses, the translations, the inconsequential questions, the roundabout answers. This is very slow going. There are interviews where it is difficult to see where they are going at all and the images used for variation, so we not always watch talking heads, are static panoramas, a vue across a landscape or the drive down a road. It reminded me of “Zu früh, zu spat” both for the laconic inaction and the lack of relevance to the spoken words. There are images from the camps, but they are present day (eighties) images and show very little but a lot of old trains.

The result is a movie that ought to be two to three hours long but clocks in at over nine hours. This works counter to the stories told in that as a viewer you get lost or bored and the imagery makes you lose interest. It is a very strange feeling to be listening to people talk about the death of thousands while you are fighting off sleep.

The interview technique of Lanzmann is also problematic. His interview style is not neutral but attempts to draw out the answers he is looking for. It is an aggressive style that frequently makes the interviewed look worse than they deserve or place them in uncomfortable situations they did not ask for. On several occasions he breaks his promise not to film the interview and when the interviewed breaks down he presses on until he gets the story he wants. Abraham Bomba is interviewed in his barbershop among clients and colleagues and rather than back off when Bomba clearly had enough, Lanzmann brutally makes him carry on.  Lanzmann clearly believes that the story is too important to be shy on his means.

It becomes very clear as we work through the interviews that the personal story of these people, how they themselves survived and what it did to them personally are very interesting stories in their own right, but Lanzmann clearly feels that such stories are just distractions from the larger picture. He may be right, on an academic level, but from a cinematic point of view this omission is almost criminal

The result is perhaps the most important movie ever made on the Holocaust but one I dearly wished had been made by a more competent filmmaker.

 

Vagabond (Sans Toit Ni Loi) (1985)

 

En pige på drift

What is the price of signing out of everything? My guess is this is not the question Agnes Varda, director and writer of “Vagabond” (“Sans toit loi”), wanted to ask, but my read on this movie is that it answers that question quite well.

At the opening of the movie, a dead body of a young woman is found in a ditch on a farm. The girl froze to death. We quickly learn that this girl, Mona (Sandrine Bonnaire), is the focus of the movie, so, yes, we know how the story ends. What follows is a journey through the last weeks of Mona’s life.

Mona left her life as a secretary to be a drifter and this is where we find her, wandering around the countryside of southern France in the winter. Mona has a number of encounters with other people which always end with Mona leaving. Invariably. There are many kinds of people and while their interactions with Mona vary, Mona always asks something from them, a ride, money, shelter, food or company and they always want something in return. A truck driver wants to talk, at the car workshop they want sex, Assoun, the farmhand, wants a friend, Landier, the forest professor, wants to help her and Yolande, the maid, wants a share in romance. When she meets a family of goat farmers, they tell her they have also signed out of society, but living like that is hard work and they offer a share in that with Mona.

Mona is happy to receive, but whenever it comes to give, she shuts down. There is no way anybody is getting anything from her. I fully understand her shutting down demands for sex, but saying no to friendship, care or help to help herself?

I suspect that the angle Varda was aiming for is how vulnerable Mona is and how she bravely defends herself from people who want to take advantage of her. In this light all the people she encounters are not really interested in her, but what she can do for them, even if it is just to make them feel better with themselves. Altruism in this light is aimed at oneself with no real interest for the person you are trying to help. True, several of the people Mona meets are selfish people and has a personal agenda and some of them are real creeps. But is that so entirely wrong, to have personal purpose to so something for another person? And frankly, some of those characters were genuinely good and decent people, so I do not agree with this reading.

The way I read it, Mona represents a type of person who wants to receive but never give, who never offer to invest anything, even to her own benefit if it means she has to commit, give or make an effort. For her any obstacle is resolved with refusal and escape. She is free, yes, nothing ties her down, but that life choice destroys her. The goatherder is perfectly right when he predicts this outcome. The price of disconnecting from society is that you must do everything on your own and that is very hard work.

Technically, Varda presents the movie almost like a documentary. From time to time, the characters Mona meets break the fourth wall and talk directly to the camera, about their choices and views. It seems odd, but it is also an interesting move and rather than making it more realistic, it gives the movie an almost fantastic element that makes this more of a fable than realism.

Agnes Varda made interesting movies in her career and some of them are on the List. While “Vagabond” won a lot of prices, I do not think it is one of her better movies. I think she wanted to drive an agenda with this movie, and I do not think she succeeded. At least not the way she intended.

 

Prizzi's Honor (1985)

 

Familiens ære

Gangster comedies is an odd sub-genre. Gangsters are a tough lot, brutal and trigger-happy while comedies are intended to be fun. Considered seriously, these two concepts match very poorly, yet there is an abundance of gangster comedies around. They require an uneasy balance, but when that balance is struck right, they can be excellent. “Prizzi’z Honor” aim for a darker humour, to an extent where I am not entirely certain I would call it a comedy anymore.

We meet Charley Partanna (Jack Nicholson) at a wedding in New York. This is a mafia wedding and Charley is a hitman for the Prizzi family. He is associated with the family through his father. At this wedding Charley spots a woman that immediately catches his interest. Through some research he manages to find her and it turns our that he and Irene (Kathleen Turner) has a lot in common and they immediately become a couple with the little issue that she lives in California. And is Polish, not Italian. And is a hitman too.

There is a complicated plot around a casino in Las Vegas belonging to the Prizzis getting swindled for a large sum of money. Charley is sent out to kill the perpetrator and retrieve the money, only to find out that the target is married to Irene. She is very apologetic, returns half the money and claims she was about to get a divorce anyway. All fine, Charley and Irene get married.

This suits Maerose Prizzi (Anjelica Huston very poorly. She used to have a relationship with Charley and still thinks she has a claim on him. She tells her father, Dominic Prizzi (Lee Richardson) that Charley took advantage of her before the wedding. This pisses off Dominic so he hires a hitman to take out Charley. The hitman is Irene.

Irene and Charley now work as a team, and they successfully kidnap a rich banker for the Prizzis in another complicated plot. Unfortunately, Irene shoots a police captain’s wife in the process and eventually the Prizzis, led by the old Don Corrado (William Hickey) decides Irene is a liability.

I got very confused in those convoluted schemes of the Prizzi family and while that likely made me miss key details, the bottom line was clear enough. Charley either belongs to the family or to Irene and therein lies both the comedy and the tragedy of the story. Is Charley a naive stooge being played both by the family and Irene? Or are Charley and Irene simply caught in a game they cannot control? Irene is certainly smart enough to understand that her situation is precarious, but does that makes her mercenary or careful?

From the helicopter perspective the setup is comedic. The Prizzis are so mafia cliché it almost hurts, the confusing schemes with hitmen turned on hitmen and people turning up at the wrong places. Yet, it is never overtly comedic, more played out as a natural consequence of circumstances.  These circumstances included that Charley and Irene met and fell in love.

Although Charley and Irene are both hitmen, and therefore morally on a big minus, it is difficult not to sympathize with them. Their care for each other seems quite genuine. That makes it the more painful to watch things unravel for them and the comedy sours. This turn is more tragic than comedic and this I guess is what makes it a dark comedy.

I must admit I never got entirely into the movie, but that is likely because mafia movies are not really my thing. Nicholson and Turner are both great in this movie. When are they not? Their presence in any movie is a big asset to the movie. William Hickey as the old Don Corrado Prizzi is also stellar, so I only blame the premise of “Prizzi’s Honor”. It was highly acclaimed though, with eight Academy nominations and one win (Anjelica Huston as Supporting Actress) and four Golden Globe wins.

 

The Quiet Earth (1985)

 

The Quiet Earth

This is a curious little movie. “Little” I say because it is obviously made on a shoestring budget with clunky and cheap, though effective, special effects, but it also shows that you can get far, very far, on a good idea.

A man, Zac Hobson (Bruno Lawrence), wake up one morning like any other. He is alone. As he is getting to work, he realizes how alone he actually is. There is nobody at the gas station, nobody on the roads, just empty cars left at random. Zac is getting freaked out about it, but wherever he looks it seems that people have just been there and now they are gone.

Zac heads to a research station where he evidently works. We, very gradually, learn that he is a scientist involved with a project called “Flashlight”, to setup some sort of global energy grid to power everything and that it is this project that has evidently gone wrong.

Over the next few weeks, as Zac realizes how truly alone he is, he vacillates between enjoying himself being allowed to do anything he wants, and utter desperate depression and madness. Humans are social creatures and only when truly alone we realize that.

Eventually Zac encounters Joanne (Alison Routledge). Exhilarated that they are not alone, they set out to look for others and Zac starts to seriously look into the cause and effect of the “Effect” as they call the event that made everybody else disappear. Eventually, they also encounter Api (Pete Smith), a Māori who come across as a bit paranoid. They come to the conclusion that they all had just died when the Effect happened and this is why they are left. Zac finds out that the Effect will occur again at a certain time so they must blow up the research facility.

Watching “The Quiet Earth” as a science fiction story is both exciting and frustrating. Exciting because the sense of being left alone in an abandoned world is very powerful. Through dubbing, all external sounds have been removed, and everything looks as if it has just been deserted. A boiler still cooking, water tap still running and so one. People just... vanished. What do you do then? But it is also frustrating because as a science fiction plot, so much is left unexplained and cryptic in a very unsatisfying manner. Especially towards the end, instead of getting some sort of closure, we, the audience, are left with even more questions. Ultimately, I am left with the feeling that the science fiction plot is unimportant and is only there as a setting for the characters.

Accepting that, “The Quiet Earth” works very well. When Zac is alone, we explore how it feels to be completely alone. When he meets Joanne, we are presented with the question, what you would do if this other person was truly the only other man/woman in the world? What are the dynamics in that? And finally, having a third person come in, what does that do to the interpersonal dynamics? It is the old story of two men and one woman is one man too many. This is the true strength and real story of “The Quiet Earth” where the science fiction plot merely creates the stage for it to play out.

As mentioned in the header, working on a shoestring budget forces people to be inventive and creative and this is such a good example. All the good stuff in “The Quiet Earth” was made with more idea than money. A truck barring the road, a baby stroller left alone, or a boiler cooking dry are all simple, cheap but very effective effects. Keeping the cast down to three people is another way. The computer effects look awful, but then again, this is 1985, anything on a computer looked terrible.

Ultimately, this is an unsatisfying science fiction movie, but a very effective and successful study of human nature and that is of course the end purpose of science fiction.

 

Kiss of the Spider Woman (1985)

 

Edderkoppekvindens kys

Something special often happens when movies (and novels for that matter) narrow down. Reduce the number of characters and/or the set to a single or very few locations and it forces the movie to focus on the dialogue and the acting. Some of the most memorable movies have done exactly that to great effect. “Kiss of the Spiderwoman” is largely about two men sharing a prison cell, so we get a good opportunity here for something special.

The two men are Luis Molina (William Hurt) and Valentin Arregui (Raul Julia). They are in a Brazilian prison during a military dictatorship, Valetin because he is an opposition revolutionary (or just opposition, everybody in opposition is a revolutionary to a military dictatorship) and Luis because of homosexual advances on a minor (or just homosexual advances as that is often criminal enough to a right-wing authority).

The two are an unlikely match, but over the bulk of the movie they become friends, earning each other’s mutual respect. Luis keeps telling of an old movie, he loves, in great detail, a movie we then see while he talks and for nothing better to do Valentin listens. This movie takes place in Paris during the war, about a cabaret singer falling in love with a Gestapo officer.

For about 80% of the movie, this is all that happens. This is a slow burner and to me, it seemed to be repeating itself a number of times. Valentin gets tortured a bit, Luis tells some from his movie, some from his private life, a bit of arguing and back to the torture. I may have zoned out a few times because this part gets a bit blurry for me.

Then, with a jolt, we learn that Luis Molino was placed in the cell by the prison warden to gain information from Valentin, and that of course changes our perspective. Is he going to rat on his prison mate or have they become friends for real?

Let us is start with the positive. As mentioned in the opening, this format allows for great acting, and this is what we get. William Hurt as the homosexual Luis Molina, is exceptional. The movie appears to have some status in the gay community, and this is largely down to Hurt and his multi-dimensional portrayal of the openly gay Molina. It earned him an Academy award. Raul Julia is less spectacular, but his job is also mainly to play up against Hurt and that he does sufficiently well.

We also get an interesting ending, with some important decisions on Luis Molina’s part. It feels a bit like a swan song, but it is delicate enough to work.

What does not work, at least not for me, is the humming through the first hour and a half. The movie seems to go nowhere, and I had serious problems paying attention. Not for lack of acting, but for lack of story. This is supposed to be the core of the movie, but I have problems even recalling what happened in this part. There may be a progress in their relationship, we may be learning a lot about Molina, but the pacing is glacial. If I had not been committed to watch the movie, I would likely have simply stopped watching after an hour. Instead, I stopped every time I felt I was dozing off, to continue when my head was clearer.

“Kiss of a Spider Woman” was made for the theatre and that shows. It has that “kammerspiel” property, but in this case it also becomes a constraint for the movie rather than an asset. The scenes of Molina’s stories break the prison and although they serve as an analogy for what is happening in the cell, they also feel as that much filler. An escape from the constraint of the format.

This is not a movie I feel inclined to watch again, but for a single watching it is worth experiencing William Hurt go all in as the effeminate Luis Molina. I can also imagine this is an important movie in the gay community. There are not that many movies that include homosexuality as more than a stereotype.

Mishima: A Life in Four Chapters (1985)

 

Mishima: A Life in Four Chapters

There are hard to find movies and then there are really hard to find movies. I had almost given up finding “Mishima: A Life in Four Chapters”, which would make it the first, but finally, on a dodgy streaming service, hiding under being a trailer (at 2 hours...) I found it. I honestly do not mind paying for the movies I watch, and it pisses me off that I have to go to such extremes to watch something. At least the site did not insist on showing me advertisement for porn.

There is a rule of thumb on the List that that movies that are hard to find have disappeared for a reason, read: not worth watching. Luckily, we are not there. “Mishima: A Life in Four Chapters” is an interesting movie and certainly a different movie, but it is not an easy movie.

“Mishima: A Life in Four Chapters” is a biopic, but quite unlike any biopic I have ever watched. Yukio Mishima was an author and playwright who was active from the forties until 1970 where his career ended most spectacularly. The biopic focuses on the essential theme in both Mishima’s writing and his life. A theme that hails the values and aesthetics of the samurai caste. The purity, the sacrifice, the stoicism and the idea of the glorious death.

While the movie takes us from his childhood to the fatal day in 1970, it also takes us on a tour through this world of Mishima, illustrated by enactments of some of his plays. While I do not understand all these plays are trying to tell, it is clear that they say a lot about Mishima, the way he thought and the message he tried to raise in his writings.

This all culminates in the fourth chapter, which is not a play, but Mishima (Ken Ogata) trying to convert his words into action, fiction into reality. In this enactment, he and some of his students take over an army base, proclaim their traditionalistic and militaristic program in an attempt to start a coup and then kill themselves, Mishima famously committing seppuku.

This format is better felt than understood and better to watch than explain. It is immersive, but also oblique because it does not explain anything. Even the narration (by Roy Scheider) is poetic rather than explanatory, enforcing the sense of experiencing Mishima rather than understanding him.

While this all takes place in Japan with a Japanese cast, it is more of an American production, with Francis Ford Coppola and George Lucas as executive producers and direction by Paul Schrader of “Taxi Driver” fame. I understand that the official Japan has an issue with Mishima and hence this film and sees him as an embarrassment and maybe he is, but as he is presented in the movie he also represents an idea and aesthetic that is very much Japanese. I guess there is ambiguity in that.

As a biopic I found it very interesting because it never tries to reduce the person portrayed to something we, mere mortals, can comprehend, but tries, for better or worse to show us what made him special. A very difficult art that most biopics miss. For that alone this is worth watching, even if you get lost in everything else.

Brazil (1985)

 

Brazil

It is possible to see a trend in the production of Terry Gilliam from his work with Monty Python to his movies in the eighties. What starts out as silly, anarchistic sketches, takes on an increasingly acerbic character in the Monty Python movies until by the time of Brazil there is a bitterness that is oddly at conflict with the comedy and makes for an uneasy combo. As a long time Python fan, it hurts saying it, but I was not greatly pleased with Gilliam’s “Brazil”.

“Brazil” takes place in a strange nightmarish world and more than anything, it is this world which is the main character of the movie. It is the unholy love child of a threesome of runaway bureaucracy, totalitarianism and consumerism. A system where everybody is a slave to forms, procedures and files, where the individual influence and power is zero and where the only thing anybody cares about is buying and credit ratings. This is a highly technical world where nothing, least of all the technology, works. It was likely all the things Gilliam hated, ramped up to eleven.

This world is both wildly scary and comically stupid. This is the Crimson Permanent Assurance setting sail on the high seas of finance as a pirate ship absurdity, but without the gleam in the eye. The elite are wearing shoes for hats and killing themselves with unnecessary plastic surgery, but it is not funny. Robert De Niro has a small role as the pirate heating engineer, Tuttle, who fears for his life when fixes the mess of the Central Services clowns. The Innocent Mr. Buttle is arrested instead of Tuttle because a bug messed with the printer and now he is tortured to death while the system is concerned that Mrs. Buttle was overcharged for the arrest. On paper hilarious but actually frightening in its inhuman brutality.

Through all this we follow Sam Lowry (Jonathan Pryce), a lowly office worker with a well-connected mother who wants him to advance, mostly to make her look good. Lowry is quite good at his work, but with no ambition of his own. That change when he recognizes a woman from his dreams, the truck driver Jill Layton (Kim Greist). In his dream, he is a winged, angel-like hero, rescuing a damsel in distress from her demonic captors. A dream which is throughout recognized by various renditions of the classic theme of “Brazil”.

The dream and Sam’s reality starts to merge when he learns that Jill is now hunted by the authorities, simply for embarrassing them. It becomes Sam’s real-life mission to save Jill as he saves the girl in his dream and soon they are on the run from the stormtroopers of the bureaucracy.

Everything in “Brazil” extends into the surreal, even Sam’s chase. There is a clear indication that eventually he turns mad and in this dream state his life starts making more sense than the reality he left.

I want to like all the dark humor, all the absurd notions and curious references, such as the Stairs of Odessa, but the bitterness is so overwhelming that the absurdity becomes scary rather than fun. The cleaner who keeps on cleaning in the middle of a shootout, the torturer playing with his little girl, the bureaucrat asking the wife of the arrested man for signatures in triplicates for the receipt of the arrest. It is all so brutal that it is just not that fun anymore.

Apparently, the audience at the time was also rather confused about the movie and it did not do that well. I can see that. While it is long, it has nothing to do with that. Even the confusing plot cannot entirely be blamed. I think it rests with the level of bitterness projected here. This is the helpless feeling of being a dehumanized victim of an uncaring bureaucracy. Not fun, just absurd and maddening.

I wonder what the system had done to Terry Gilliam.

     

The Time to Live and the Time to Die (Tong Nien Wang Shi) (1985)

 

The Time to Live and the Time to Die

When I lived in China, I learned a word, or maybe an expression, that went “Ha-bah” (probably the female form). I understood it as meaning “okaaayy... whatever” and we used it ourselves whenever we had not clue what was going on, which was something that happened daily. “Ha-bah” is exactly what comes to mind when I think of “The Time to Live and the Time to Die”.

I did not understand much of what was happening and even less of what was the point of the movie, so forgive me if I am vague in my description of it.

We are in Taiwan shortly after the Second World War. The family we are following came from mainland China and sort of expect to go back. Wikipedia names one of the children, who seem to go by the name Ah-ha, as the character we follow, but you could have fooled me. There is a father in poor health who die early on, a mother who dies fairly late and a grandmother who dies in the end. I have no clue how many children there are. It could be anything between two and five and do not ask me about their names or what actor played which of them.

The family have limited funds, the house is shabby and while the children are supposed to study hard, the boy(s) seem to be mere street hoodlums.

Time passes, the parents die, and the children grow older and that is about it.

Of course, this takes place over two hours plus, so it is kind of slow motion, but mostly it is the same happening again and again.

This does not mean this movie is entirely uninteresting, because we do get a view into an ordinary family’s life. Small worries, big worries, some shouting, eating, bathing and whatever it is people are doing. I am not certain I have ever gotten so close to a Chinese family life before, although walking on the back streets in Shanghai you do get glimpses of lives you would not otherwise know. I am not certain this voyeur look is enough to keep you interested for two hours, but as I had no clue what was supposed to be happening, I had plenty of time to look at details, such as the rice mats, the bathroom and the half-outdoors kitchen.

Director Hou Hsiao-hsien’s style is compared to Japanese Ozu with his static camera and passive view on what is happening in front of the camera, and it may be Hou is using some of the same techniques, but I think the major difference is that in Ozu’s static view, interesting things were playing out and I was able to decode them. In Hou’s view, whatever is going on is simply not that interesting.

There is of course the very likely explanation that I simply have not understood the movie and that this all is in fact very deep and groundbreaking. I cannot rule out that I am simply too stupid for this movie or too uninterested in Ah-ha’s life and that is my personal failing. With that in mind I think I will leave it there.

Ha-bah.

Den kroniske uskyld (1985)

Off-List: Den kroniske uskyld 

The third off-List movie of 1985 is a Danish movie, “Den kroniske uskyld”, which IMDB translates to “The Chronic Innocence”. It is based on a book by author Klaus Rifbjerg and was a big hit in Denmark when it came out in 1985.

Janus (Allan Olsen) and Tore (Tjhomas Algren) are in their senior year in high school (or the Danish equivalent). Tore has returned from a period living in Jutland and has resumed his role as central character among his friends. Janus is the classic follower, the squire of the knight and generally allows Tore to lead the way.

One of the first things that happens after his return, is that a new girl is showing up. Helle (Simone Bendix) is very pretty and both boys are knocked off their feet. At the high school party, it is clear that it will be Tore and Helle that will be the couple, and Janus who gets the ungrateful role as friend. Being, as he is, always close to Tore, Janus becomes a very close witness to their relationship. Janus is also our narrator and mixed in with the story of Helle and Tore, we clearly sense his own frustration. Something he takes out on the willing, but not very cultured, Inger (Helle Fastrup).

The real monster here, though, is Helle’s mother, Mrs. Junkersen (Susse Wold, whose character never gets a first name). Already when we get the first glimpse of her, there is something sinister about her. Janus learns that she has previously taken over her daughter’s boyfriends and it is clear that Helle is reluctant to introduce Tore to her mother. To no avail, Mrs. Junkersen introduces herself and quickly takes the lead. It is obvious that she is very wealthy, gets what she wants, and is enjoying being admired. Think of a Mrs. Robinson as a spider queen, playing with and eating her prey.

Tore is blind to all this, but Janus sees it and is scared. Never mind his own jealousy, when he sees what Mrs. Junkersen is after he gets worried and protective of his friends.

The story climaxes at the graduation party in the house of Mrs. Junkersen. Here she goes all out vamp, and Tore does not stand a chance with tragic results.

Despite moments of humor this is a fairly downbeat affair. We know already going in of an impeding doom, we just do not know how bad things get. If you are looking for a silly happy ending movie, this is not the one. Yet, this is also a sort of coming of age story, as most teenage stories are. It is a bitter lesson and a brutal innocence lost. In fact, this is less about growing up than of losing innocence. Janus is experiencing his own anger, frustration, fear, jealousy and worst of all a meanness in himself. But he also loses his naivete concerning his friends and their parents. He ends up wiser on himself and other people, while some of the others succumb.

This all sound gloomy, and I suppose it is, but there are also a number of highlights that make the movie easier to watch. For me, this was a window into familiar places 40 years ago. The music was precisely the music we heard at parties back then. The cloth, the jargon, it is all very familiar. Imagine you could buy a pint size plastic cup of tap beer for 20 kroner, yes, I remember that even though it would be a handful of years before I would buy that myself. When they go around in Copenhagen, I recognize the places and so much look the same. It brings it all very close    

There is also a lot of joviality between the adolescents, the banter is fun and the relationship between Helle and Tore is beautiful, even if it feels unfair that it is pretty boy Tore who gets the pretty girl.

I actually never watched “Den kroniske uskyld” before now and it is sort of a miss. I guess I feared it would be a rough ride, and it is, but it is also one of those movies I am happy to have watched.

Back to the Future (1985)

 

Tilbage til fremtiden

“Back to the Future” is one of the really big movies. One of those everybody knows and many, if not most, love. I have watched it countless times, I know all the lines, have found lots of the easter eggs and can go into a heated discussion on timelines and paradoxes. So, yeah, I am a bit nerdy on this one, but so are tons of people. Just look at the Wikipedia page. I do not think even the Star Wars page is as big and detailed as this one.

If you need a plot summary for this one, I really think you are reading the wrong blog, but very briefly: Marty McFly (Michael J. Fox) is a high school kid who is friends with an inventor called Dr. Emmet Brown (Christopher Lloyd). Marty plays guitar, drives around on a skateboard and is late for school and thus a very relatable character for teenagers. Doc Brown is this white-haired, wild-eyed manic type that makes him the quintessential mad scientist. Also, Doc Brown has made a time machine... out of a DeLorean.

To power the flux-capacitor (that makes time travel possible) it needs a phenomenal amount of energy, 1.21 GW to be exact (or the amount of power produced by 121 big offshore wind turbines on full load). Luckily plutonium does the trick. Unluckily, the Libyan terrorists who provided the plutonium were not so pleased with the nuclear bomb full of pinball machine parts Doc Brown made for them and show up, pissed and all, in the middle of the test run of the time machine. Marty McFly narrowly escapes in the DeLorean, triggers the time machine and ends up in 1955. Can Marty find some plutonium to get back and avoid messing up his own future?

“Back to the Future” does everything right. The premise of the movie is interesting with plenty of opportunity for interesting adventures. How would it be to meet your parents when they were your age? What if you triggered the butterfly effect, changed a small thing in the past with massive result is the future? How would you cope with life in the past or how would the past cope if you presented it with something from the future?

The tone is comedy, but not silly or stupid comedy. We believe in the characters and the situations all the way, something too often forgotten in modern comedies, and both the situations and the characters are highly amusing, if not hilariously funny. One of the famous behind-the-scenes stories tell that filming was quite far with another actor as Marty McFly, until they realized that he simply was not hitting that tone of comedy. Instead, they drew in Michael J. Fox, re-shot those scenes and nailed it. Lots of scenes take place in the night because Fox was engaged in another production during the day.

This was a brilliant move. Fox and Lloyd have incredible chemistry, or maybe I have just watched this so many times that I feel they belong together. Then again, I can say that of the entire cast. Crispin Glover makes for an amazing George McFly, Leo Thomson works convincingly as Lorraine Baines/McFly and best of all Thomas F. Wilson is the most glorious villain, Biff. Wilson is the nicest guy imaginable, but as Biff he is mean, brutal and incredibly low... and hilariously funny.

The score is perfect. Alan Silvestri’s themes are now pop culture classics, instantly recognized the world over, Huey Lewis’ “The Power of Love” became a hit (Did you know it is himself dismissing his music as “just too loud” in the rehearsal scene?) and several classic fifties hits play significant parts in the story (How was it Chuck Barry came up with the sound for “Johnny B. Goode”?).

Finally, the movie is simply exciting. It is paced well, tense in its moments, adventurous (did I already mention that?) and not afraid of giving us a visual spectacle, yet keeping the special effects in rein.

Great Scott! Wouldn’t I like to have a such a DeLorean?

Then I would say: “Where we are going, we don’t need roads”