gilbert seah

Film Review: LES INNOCENTES (THE INNOCENTS) (France/Poland 2016)

festreviews 2016 movies, Movie Review, Uncategorized , , , ,

the_innocentsLES INNOCENTES (THE INNOCENTS) (France/Poland 2016)

Directed by Anne Fontaine

Starring: Lou de Laâge, Agata Buzek, Agata Kulesza |

Review by Gilbert Seah

The nuns in a convent during World War II are THE INNOCENTS referred to in this film, based on a true story.

Anne Fontaine (her last film COCO AVANT CHANEL) is a director who has made her name in making films about women. Her most notable film was DRY CLEANING, my favourite one of hers, in which she dished out a delicious dose of devilishness without being too serious. THE INNOCENTS is her most serious film.

It is Warsaw in the December of 1945 when the second World War is finally over. But the problems are not. When the film opens, a young French female doctor, Mathilde (Lou De Laâge) is treating the last of the French survivors of the German camps. When a panicked Benedictine nun appears at the clinic one night begging Mathilde to follow her back to the convent, what she finds there is shocking: a holy sister about to give birth and several more in advanced stages of pregnancy. Russian soldiers have raped the nuns who are now facing both the shame of exposure and a crisis in their faith. And they have deal with their pregnancies and their babies afterwards. Being nuns, they are totally new to the concept of birth. But worse of all, their strict Rev. Mother (Agata Kulesza) is not helping.

The film is beautifully shot by cinematographer Caroline Champetier. The luscious white snow on the ground, the woods, the middle of winter contrasted are contrasted with the dark corridors of the convent. The haunting music by Grégoire Hetzel is excellent and one wishes that the soundtrack be played a bit louder for it to be more appreciated.

But the narrative is not as strong as one might expect a story of this nature to be. One reason is the lack of a clear point of view. Though the majority of the film is told from Mathilde’s perspective, the film occasionally shifts to nun Maria’s and the Rev. Mother’s views. But the script also fails to establish the strength of the nun’s faith. The nuns and Rev. Mother appear not only helpless, but undetermined to have any self will to fight. All they do is pray and say it is God’s Providence in the midst of all the troubles. The fact that they are this helpless and unwilling to help themselves makes them more pitiless which undermines the power of the story.

The camaraderie between Mathilde and her co-worker, a French Jewish doctor (Vincent Macaigne) provides some needed distraction from the over-serious proceedings. But Vincent claims (and he improbably correct) that he is too ‘ugly’ for Mathilde. His romantic advances are not returned.

Fontaine’s film also ends up over sentimentalizing as in the births of the new born with too many shots of smiling nun faces. The message of Fontaine’s film comes out muddled. It is a pity as Fontaine has put in a lot of effort into this piece of work.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: THE MISSING INGREDIENT: WHAT IS THE RECIPE FOR SUCCESS?

festreviews 2016 movies, Documentary, Movie Review, Uncategorized , , ,

the_missing_incredient.jpgTHE MISSING INGREDIENT: WHAT IS THE RECIPE FOR SUCCESS?

Review by Gilbert Seah

THE MISSING INGREDIENT: WHAT IS THE RECIPE FOR SUCCESS? is the question posed throughout this new documentary of the same name. The answer is given near the end of the film by one of the owners of Gino’s, the successful restaurant that became an institution in NYC. However, one might argue if that is the correct answer- or that there are more ingredients to its success.

Whatever the point is, this Canadian documentary is strangely totally set in NYC. One wonders of the reason the effort was not taken up by an American filmmaker. Maybe it takes an outsider to be able to see the whole picture.

The film centres on two restaurants in NYC. One is already a success as an institution, the Italian Gino’s and the other, another Italian restaurant, Pescatore that strives desperately to be one. Director Sparaga interviews the owners of both restaurants, the clientele and workers. It is difficult to define the success of Gino’s. Gino’s is an unpretentious place, where the customers become family. Gino’s does not accept credit cards, but allows credit as kept in the log of a handwritten book. Gino’s has bright orangey red zebra wallpaper that became the restaurant’s icon. A big part at the end of the film has Pescatore using, after Gino’s has closed, the identical wallpaper with zebras but in yellow – to disastrous results.

Sparaga’s film flows easily. It is a very likeable documentary that never passes judgement on any one of his subjects. Even when Charles, the owner of Pescatore steals Gino’s wallpaper, a definite no-no, as opinionated by everyone interviewed on this subject, Sparaga goes on to film Charle’s view on the topic, even as he he says at his restaurant that if anyone working there will not support the wallpaper would best be looking for a job someplace else. Sparaga later allows Charles as he opens his new restaurant to be respected for his hard work and dedication despite a bad decision in the past.

This is where Sparaga’s film succeeds. Despite having a restaurant’s success as the subject, his film is also a candid study of people’s behaviour – their loyalties; their dedication; their goals and their pleasures. Restaurant come and go. People don’t. Gino’s though terribly successful had to finally close its doors. It is what can be learnt from the people and not from the restaurant that is priceless.

By the time the last reel is played, the audience will remember the sad faces of the founders of Gino’s, the face of Charles who tried so hard to make Pescatore work as well as the words of the loyal customers of Gino’s. But many will not recall the dishes at Gino’s that were displayed in the film.

THE MISSING INGREDIENT: WHAT IS THE RECIPE FOR SUCCESS? turns out to be a very likeable documentary that is easy to watch. It dishes out life lessons as famously as Gino’s dished out great food.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Movie Review: CLOSET MONSTER

festreviews 2016 movies, Movie Review, Uncategorized , , , ,

closet_monster.jpgCLOSET MONSTER (Canada 2015) ***
Directed by Stephen Dunn

Starring: Connor Jessup, Aaron Abrams, Isabella Rossellini

Review by Gilbert Seah

When the first queer films were made, coming out was a hot topic. Now decades later when LGBTs are accepted and it is considered more incorrect to be prejudiced than to be LGBT, the issue of coming out is no longer than big an issue. CLOSET MONSTER treats the issue as still relevant, made so because the subject coming out is till as stressed as the first gay doing so decades back and that he has a class A asshole father.

So, CLOSET MONSTER is a Newfie movie of an East Coast teenager and aspiring special-effects makeup artist, Oscar (Connor Jessup, BLACKBIRD) struggling with both his sexuality and his fear of his macho asshole father. Oscar has a girlfriend, Gemma (Sofia Banzhaf) but pines for the new cute boy, Wilder (Aliocha Schneider) at his workplace. Schneider is quite the looker. But Wilder is straight but sympathetic. The film teases all the way whether the relationship will happen, but the film takes a few turns. The film uses the boy’s hamster (with a gender twist on it too) to provide insight to the story. The hamster is voiced by Isabella Rossellini.

The film ends up a welcome comedic twist on the coming-of-age genre. The film is not without flaws but given the fact that this is a first-time feature, CLOSET MONSTER is an assured debut.

CLOSET MONSTER has made the rounds already at Toronto’s TIFF and the INSIDE OUT LGBT Film Festival as well as various other festivals around the world. It has won many awards including Best Canadian Feature at both TIFF and Inside Out and awards at other gay festivals around the world as in Melbourne and Miami.

 

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Movie Review: LAST CAB TO DARWIN (Australia 2015) ****

festreviews 2016 movies, Movie Review, Uncategorized , , , ,

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

last_cab_to_darwin.jpgLAST CAB TO DARWIN (Australia 2015) ****
Directed by Jeremy Simms

Starring: Michael Caton, Ningali Lawford, Mark Coles Smith

Review by Gilbert Seah

Based on the 2003 stage play by Reg Cribb, LAST CAB TO DARWIN is the story of a cab driver, Rex (Michael Caton). Rex who is diagnosed with stomach cancer, drives thousands of miles to Darwin in the Northern Territories where euthanasia is just legalized in order to to die with dignity. Rex is an unsavoury character and leaves behind the only woman Polly (Ningali Lawford-Wolf) who loves him.

This is the kind of subject that audiences turn away from. This might be the reason the film was hardly noticed when premiering at last year’s Toronto International Film Festival. The characters in Australian films are often harsh and crude, the landscape bleak and racism existent. But surprisingly, this film ends up a totally winning film at the end.

The film is basically a road trip. Rex drives off to Darwin, meeting other people on the way.

One of these people is Tilly. The film relies on the relationship of Rex and Aborigine Tilly. Both have led problematic lives and are reluctant to change. In a key scene Rex tells Tilly: “I don’t tell you how to lead your life and you don’t tell me how to lead mine!” But Tilly affects Rex’s life and vice versa. A lasting and precious friendship develops between the two.

Actor Michael Caton carries the film confidently on his shoulders, apt at conveying sympathy in a character hardened by life. He is without family and friends with no will to live. Those who recognize Caton will remember him in one of the funniest Australian low budget hit of all time, THE CASTLE. His role is similar to that of the one in THE CASTLE, an underdog fighting the big guys. In THE CASTLE, he fights the authorities who want to buy his home (a man’s home is his castle) to put in an airport runway. In this film he is fighting for the right to die. The federal government and church will do their all to prevent this as to allow it would be to give power to the common man. The film’s story thus takes on greater proportions. Director Simms keeps the tale of Rex intriguing from start to end.

The film contains a relevant message on euthanasia. Though a little predictable at the end, Simms’ film unfortunately tends to be too sentimental. The story also appears desperate in trying to get a happy ending, though happy endings are not always possible in some stories.

For a film with the theme on death, LAST CAB TO DARWIN is surprisingly full of life. It is occasionally a feel good movie. When I was in Sydney during Christmas when the home video of THE CASTLE was released, I could not rent a copy as all the copies were out in all the video stores. in Sydney. Quite unbelievable! LAST CAB TO DARWIN will not likely share the same success as THE CASTLE, but it comes pretty close as an unforgettable movie.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Movie Review: GHOSTBUSTERS (2016). Direted by Paul Feig

festreviews 2016 movies, movie, Movie Review, Uncategorized , , , , , , , ,

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

ghostbusters_2016GHOSTBUSTERS (USA 2016) ***1/2

Directed by Paul Feig

Starring: Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones

Review by Gilbert Seah

It took tons of effort and luck before GHOSTBUSTERS could be get this fresh look on the screen. The original 1984 hit version is best remembered as a classic that should not be tempered with. The original 4 that made GHOSTBUSTERS in 1984 including the late Harold Ramis who died in 1984 made a pact that no more GHOSTBUSTERS movie could be made unless all agreed. Bill Murray was the one who objected to all the previous scripts till this one written by Katie Dippold (THE HEAT) and championed by Paul Feig (BRIDESMAIDS). Bill Murray has a cameo as a supernatural activity debunker. And many loyal fans were upset that the film is given a female cast instead.

The film begins with an impressive opening sequence with a tour guide played by TV SILICON VALLEY’s Zach Woods explaining some paranormal behaviour before poltergeists appear. The story then moves on to professor Erin Gilbert (Kristen Wiig) who reunites with friends (Melissa McCarthy, Kate Mckinnon) to rid NYC of a ghost invasion. The film contains no boring romances, no life lessons or unnecessary drama – just plain silly fun with a female twist.

GHOSTBUSTERS runs out of steam at parts but the audience knows that another funny part will arrive just around the corner. A lot of the humour is provided by the 4 main actresses, who for the most part work well together to keep the laughs coming fast and furious. McKinnon is the most manic of the four, playing the scientist inventor, whose technical gibberish can hardly be understood at times. But who cares? Though Wiig plays the most serious of the four, the professor who loses tenure and has to return to fighting ghosts, she provides a good number of laughs. In fact, the film’s two funniest laugh-out jokes come from her, in the segment where she is manically runs to warn the mayor (Andy Garcia) having dinner of the ghost invasion. McCarthy overdoes it as usual. She does look funny in her oversized jumpsuit, showing that she is game in having a good time. One can get too much of her, while one wishes there is more of Leslie Jones, the reluctant subway employee who joins the group.

The special effects work well. A number of ghosts look like the ones from the original. But the film might be too scary for younger children.
The new GHOSTBUSTERS at least learns from the original. The script by Katie Dippold improves while it can. The original theme song recorded by Ray Parker, Jr. back in the day that was the number 1 hit that stayed on on the billboard for 3 weeks is used at various points in the movie, obviously both reminding and reviving audience’s fond memories. Improvements in the film include adding a human villain, the one that opens the portal for the ghosts. Another is the addition of a new character, Kevin (THOR’s Chris Hemsworth) the male equivalent of the pretty dumb blonde secretary. Kevin has major problems answering the telephone while carrying on normal duties, creating more problems when he becomes possessed. Hemsworth displays a surprising flair for comedy and dance.

GHOSTBUSTERS definitely pleases as evident during the promo screening I attended. It takes quite a lot to both getting the audience to applaud as well as to stay for the closing credits.

 

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Movie Review: OUT OF PRINT (2016) Documentary

festreviews 2016 movies, Movie Review, Uncategorized , , , , ,

out_of_print.jpgOUT OF PRINT (USA 2016)
Directed by Julia Marchese

Starring: Kevin Smith, Seth Green, Patton Oswalt

Review by Gilbert Seah

OUT OF PRINT celebrates the repertory cinema. This is a film that older cineastes can relate to as repertory cinemas were common back in the days. Now with film streaming, VOD and DVDs, the repertory cinema is a dying breed. For myself, my love for movies grew with the rep cinema 10 minutes walk from my home in Singapore. The program changes every day, which allowed me to see a lot of films while around the age of 12, when not allowed to take the bus alone to go to the city centre. Also, immigrating to Toronto, the festival rep cinemas allowed me to catch up on all the oldies, foreign films and classics that I was unable to see in Singapore. And the price was always right.

At the start of the film, director Kevin Smith (DOGMA, CLERKS) says that if you can watch a film on your phone, then you should not be watching this film. Quite so true.

OUT OF PRINT concentrates on just one such cinema that exists in L.A. called the New Beverly.

OUT OF PRINT is a doc that, despite the fact that I really wanted to like it, does not do much. It picks on a couple of topics. Topics like the advantages of watching a movie in a theatre with a full house compared to alone in a house; the dedication of the New Beverly staff; the eccentricity of projectionists and the history of the owners are examined. Cameos from famous actors and directors like John Landis, Kevin Smith, Clu Galager, Seth Green, Rian Johnson, Edgar Wright are then given a few sentences to speak on each topic. The reactions are sometime repeated. But nothing new is learnt or insight given regarding the subject, unless one has been living in a cave for the past few years. The only time the film gets interesting is when it goes into the mechanics of how an image is projected on the big screen using the projector. Other than that, it is the rep staff praising themselves or the talking heads trying to be smart or funny. Unfortunately they are not that smart nor funny.

The film finally delves into something more current – the arrival of digital cinema. But Marchese ends up turning the subject into sentimental nostalgia.

It is only during the last 20 minutes that the film compares other rep cinemas around the U.S. and outside the U.S. Director Marchsese spends quite a bit of time on the Prince Charles in Cinema at Leceister Square, London. I remember watching films there for 1.99 quid. Ironically I saw Richard Kelly’s (one of the directors spotlighted in this doc) DONNIE DARKO there.

Despite the impressive list of cameos, OUT OF PRINT becomes tedious quite fast. Nothing is also sad of what the New Beverly is at the present time. The last thing said in the film was that it bought over by Quentin Tarrantino. It is also surprising Tarrantini was not interviewed for this film.

Movie Review: OUR LITTLE SISTER (Japan 2015) ***

festreviews 2016 movies, Movie Review, Uncategorized , , , , , , ,

our_little_sisterOUR LITTLE SISTER (Japan 2015) ***
Directed by Hirokazu Kore-da

Starring: Haruka Ayase, Masami Nagasawa, Kaho

Review by Gilbert Seah

Though not his best, the latest from Kore-da (AFTER LIFE, LIKE FATHER LIKE SON) contains all the charm and some traits from his best films. In OUR LITTLE SISTER, a character remarks that God has not created perfectly and it is up to man to make the best of it. Like his masterpiece AFTER LIFE, in which human beings after death have to film their best memories to take to heaven to remember forever, humans make a big difference in the lives of Kore-da’s characters.

Three grown sisters (Haruka Ayase, Masami Nagasawa and Kaho) who live in their late grandmother’s sprawling home in Kamakura, a genteel city south of Tokyo take their teenage half sister, Suzu (Suzu Hirose) to live with them after their father’s death. The seasons drift by, marked by the arrival of cherry blossoms (beautifully shot), the making of plum wine, or a showering of fireworks.

The sister learn to deal better with their problems. The neat thing about this film is the observation of the behaviour of Japanese sisters. The film would turn out a whole lot differently if it were set in America with a dysfunctional family of sisters. The film is based on the graphic novel by Akimi Yoshida. A pleasant and occasional charming drama about life.

The film played In Competition at the 2015 Cannes Film Festival. The film has since won 10 awards, including Best Film and Best Director at the 2016 Japanese Academy Awards.

Movie Review: THE SECRET LIFE OF PETS (USA 2016) ****

festreviews 2016 movies, Movie Review, Uncategorized , , , , , ,

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

the_secret_life_of_petsTHE SECRET LIFE OF PETS (USA 2016) ****
Directed by Chris Renaud, Yarrow Cheney

Starring: Louis C.K., Eric Stonestreet, Kevin Hart, Jenny Slate, Ellie Kemper, Albert Brooks, Lake Bell, Dana Carvey

Review by Gilbert Seah

What do pets do after their human owners leave for work? The imagination of the writers Cinco Paul , Ken Daurio and Brian Lynch entertain audiences with the notion. The story follows the adventures of one male pup, Max (Louis C.K.) who leads a sheltered and spoilt life with his owner Katie (Ellie Kemper). Max hangs out with other pets like Chloe (Lake Bell), Mel (Bobby Moynihan), Buddy (Hannibal Buress), and Sweet Pea (Tara Strong). Trouble soon arrives in paradise. One day, Katie adopts a giant dog called Duke (Eric Stonestreet) who Max does not get along with. But when they get lost and encounter both animal control and an evil rabbit, Snowball (Kevin Hart), they are forced to join forces. Animated features usually have a story involving saving the world like the DESPICABLE ME movies. This one has the pets trying to return home.

It is half way through watching THE SECRET LIFE OF PETS that it suddenly dawns that a good chunk of the storyline is derived from Pixar’s TOY STORY. Just as Andy has his favourite toy, cowboy Woody, Katie has her favourite pet dog Max. Just as Woody finds his toy universe shaken by the arrival of new toy Buzz Lighyear, Max finds his comfortable world undermined by the rival dog, Duke that Katie brings home. But that is not all. The toys speak and move when the humans are away just as the pets speak in their secret life of their own. But the filmmakers are clever enough not to call their film PET STORY and to take the storyline on step further. The toys can never match the antics of pets. The fact that millions watch cat antics on youtube is proof of the fact.

The cuteness factor is high and the cuteness can get a bit annoying at times. The trailer displayed lots of it. But most of what is seen in the trailer is finished off in the film’s first 10 minutes. But the cuteness antics are occasionally very funny and work well, when used more sparingly.

The voice characterizations are lively, working well with the creatures created. Standing out is Steve Coogan’s Oz, the alley cat and Kevin Hart’s Snowball. The name Snowball was likely taken from the name of the pig that led the revolt against human beings in George Orwell’s ANIMAL FARM.

The music by Oscar winning French composer Alexandre Desplat (THE GRAND BUDAPeST HOTEL) is a big bonus. Two catchy songs “Welcome to New York” by Taylor Swift and “Lovely Day” by Bill Withers can heard at the beginning and end of the film respectively.

As the film is made by Illumination Enetertainment, responsible for the DESPICABLE ME films, the studio is quick to remind audiences of the fact. A Minion animated short Minions is featured before the film. The Pharrell Williams Oscar winning song “Happy” is heard as a cameo song on the radio of a cab that passes by the pets. One of the pets wears a Minion outfit to a costume party. But one of the funniest sequences has Duke and Max in heaven in a sausage factory where the hundreds of sausages have faces, all the animated sausages looking like orange Minions.

One might compare and the animation of THE SECRET LIFE OF PETS to Disney’s Pixar films. Still SECRET LIFE has enough merits for it to stand on its own as excellent family entertainment and fun. If SECRET LIFE spins out a few sequels, no one will complain.

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

TIFF Cinematheque presents Hitchcock/Truffaut

festreviews Alfred Hitchcock, Movie Review, Uncategorized , , , , ,

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

By Gilbert Seah

Alfred Hitchcock and Francois Truffaut are my two favourite directors of all time.  Truffaut is the reason I studied French so that I could understand his films in French.  The recent documentary by Kent Jones on Truffaut’s interview with Hitchcock is every cinephile’s dream documentary.

TIFF Cinematheque presents the films by Hitchcock and Truffaut.  It is an exhaustive retrospective with many little not so well known gems like SHOOT THE PIANO PLAYER, THE SOFT SKIN perennial favourites like THE BIRDS and NORTH BY NORTHWEST, the latter being my personal best film of all time.

Many films like THE BRIDE WORE BLACK, I have seen 5 times or more times and should be seen on the big screen.  Others should be enjoyed time and again.

Below are capsule reviews of selected film, films by Hitchcock followed by those of Truffaut – all listed in alphabetical order.  Mots of them are rated 5-stars – yes, because they are that superb.

For more information on the venue,program and date and time of screenings,click on the link to the Cinematheque website below:

http://tiff.net/summer2016-cinematheque/hitchcock-truffaut-magnificent-obsessions

FILM REVIEWS:

HITCHCOCK:

THE BIRDS (USA 1962) ***** Top 10 

Directed by Alfred Hitchcock 

Tippi Hedren could very well be Hithcock’s favourite blonde.  She is the one of the few that is the lead protagonist in the Hitchcock’s film world dominated by male protagonists.  And not only in one but in two movies, THE BIRDS and MARNIE.  In THE BIRDS, Hitchcock gives her the perfect compliment when he has her steer an outboard motor across the bay waters wearing a mink coat.  How is that for fabulousness?

A wealthy San Francisco socialite, Melanie Daniels (Hedren) pursues a potential boyfriend, Mitch Brenner (Rid Taylor) to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.

As far as movie THE BIRDS go, based on the book by Daphne du Maurier, it is the best of the Master’s work.  The beginning credits with the winged creatures tearing away the credit to an electronic score peaks audience anticipation early.  The film contains no musical score except for the scene where the school children sing a repetitive song.  There is no attack of the birds during the entire the first half of the film except for a peck on the head on Melanie (Hedren) and a crashed seagull at a door.  Hitchcock uses the time to establish the characters and setting for the film.  The romance between Daniels and Brenner is given centre stage.  But the film’s second half comes fast and furious with brutal attacks of the birds.  The attack scenes are extremely well executed, courtesy of the Master of Suspense who injects his sinister brand of humour in many scenes – example: the young Cathy telling Daniels of the man Brenner is defending in court: “Did you know the killer stabbed his wife six times?” No explanation is given for the bird attacks, which makes all the proceedings scarier!

NORTH BY NORTHWEST (USA 1959) ***** Top 10

Directed by Alfred Hitchcock 

Before going on with the capsule review, I have to say that Alfred Hitchcock’s NORTH BY NORTHWEST, which I have seen at least 5 times, is my favourite movie of all time.  It is Hitchcock at his very best, with a film that includes suspense, action, comedy and romance.  And Hitchcock has infused a perfect villain in James Mason as the Phillips Vandamm out to kill hero, Roger Thornhill (Cary Grant).  In the story, no reason is given for the existence for Vandamm’s organization or what its purpose is.  Like Hitchcock’s Macguffin, the chase is all the importance and it propels the plot to its climax, the reason being of no consequence.  Hitchcock gives the villain a human touch in the scene where his right hand man, Leonard (Martin Landau) delivers the message that his girl Eve Kendall (Eva Marie Saint) has defected and fallen in love with the enemy, Roger Thornhill.  Vandamm punches the bearer of bad news with such force that he hurts his hand.  In the climatic scene, he jumps out at Thornhilll with a climatic fight at Mount Rushmore.  NORTH BY NORTHWEST contains many classic set pieces like the crop duster scene.  A film that should be seen many times for Hitchcock’s, author Ernest Lehman’s pure genius and Bernard Herrmann’s arresting score.

NOTORIOUS (USA 1946) ****

Directed by Alfred Hitchcock

One of the most suspenseful of Hitchcock’s spy films (TORN CURTAIN, TOPAZ), Ingrid Bergman plays the romantic lead and also the damsel in distress.  Alicia Huberman, (Bergman) a German expatriate whose father has just been convicted as a German spy is hired by the Americans.  Devlin (Cary Grant) brings Alicia to Brazil in hopes to arrange a meeting with Alex Sebastian (the fantastic Claude Rains); another German spy who just happens to have a history with Alicia insofar that he was in love with her.  The plan is to get them together so that she can spy on Sebastian and his colleagues so that the Americans can get a leg up on their mutual espionage.  Of course, love develops between Devlin and Alicia, which complicates their operation and of course, their lives.  Performances are top notch and special mention should be made of Rains who makes his villain a human one, with a mother obsession.  The key suspense scenes is the climax in which Devlin brings Alicia down the stairs with the villain, Alex accompanying them.  A full 10-minutes of nail-biting tension!  The overhead shot of Bergman collapsing on the living room floor after being poisoned is also classic Hitchcock.

PSYCHO (USA 1960) ***** Top 10

Directed by Alfred Hitchcock

With a new sound restored print Alfred Hitchcock’s PSYCHO sounds more chilling with Bernard Herrmann’s haunting score and the screams of Janet Leigh in the shower scene. The plot concerns Secretary Marion Crane (Janet Leigh) embezzling $40,000 and taking off from the town to drive to settle down with her boyfriend, Sam Loomis (John Gavin) in Fairvale.  A storm forces her off the road to take refuge at the Bates Motel where she is murdered in cinema’s most famous shower scene, a pleasure to watch for the umpteen time, ripping shower curtains, chocolate syrup down the tub hole and all with accompanying restored violin/cello screening soundtrack.  This sends Sam and her sister Lila (Vera Miles) with a private dick (Martin Balsam) on her trail after she has disappeared. The pleasure derived from watching PYSCHO will take different forms depending on the viewer.  The film contains many surprises from start to finish, with many of these being cinematic.  The most important is Hitchcock’s killing of, of Leigh – the film’s main character in the shower, a first at its time.  But with the full story known to audiences viewing PSYCHO for a repeat, myself for the 4th time, the film still holds many surprises, especially in shots or techniques not observed before.  PSYCHO contains lots of nudity and sex scenes without showing any private parts. For myself, one is a shot of Bates (Anthony Perkins) climbing up the stairs.  Perkins (gay, in real life) was allowed by Hitchcock to interpret his character so long as it did not involve camera movement.  His sexy shaking of his bum from side to side clearly stood out to me during this screening.  Others include his infusion of suspense in many segments, like the one with the blinding rain and bright lights hitting Marion’s car windscreen forcing her to stop at the Bates Motel.  Also, the details of the title credits – December 11th; 2.43 pm; Phoenix, Arizona implies the importance of details and puts the audience in a specific and not imaginary time and space.  To have the audience feel for sympathetic towards Marion who has stolen the $40,000, Hitchcock has the man paying her boss the money say: “I carry more than I can afford to lose!” Neat too is Hitchcock’s use of voiceover and irony.  Irony in the form that Marion’s boss actually sees her, as observed by Marion through her windscreen, leaving town.  Voiceover involves imagined conversations in the head of Marion that could have or could just be imagined by Marion.  What is really neat, is that it dos not matter to the plot whether the conversation did occur but that it serves to highlight Marion’s paranoia.  The ending explanation of Bates’ mental situation by a psychologist is a bit too talky but PSYCHO should be re-seen for its many masterly staged scenes like the ending parlour scene, the murder of the private investigator as he falls down the stairs and of course, the famous shower scene, just to name a few.

REAR WINDOW (USA 1954) **** 

Directed by Alfred Hitchcock 

Based on a shot story, REAR WINDOW feels at times that it is short of story.  But Hitchcock more than makes up for him with the banter between star photographer Jeffries (James Stewart) and his icy blonde girlfriend, Lisa (Grace Kelly).  The film is totally told from the point of Jeffries, apartment bound because of a broken leg, the cause of which is never brought up.  The Master would likely say that it would make no consequence to the suspense.  He spies on the courtyard and is convinced that the neighbour u the building across (Raymond Burr) has murdered his invalid wife.  He gets Lisa and his nurse (Thelma Ritter) to aid him in his quest to out the killer.  Hitchcock generates lots of suspense moments from the set-up, the best one being Jeffries watching though his binoculars Lisa getting caught breaking into the killer’s apartment by the killer, unable to do anything being bound to his wheelchair.  The two lovers are at logger heads throughout the film’s first half but Jeffries admires her once she aids him – also bringing out the film’s charm.  Nurse Stella says it right (Hitchcock steals a message here to the audience) when she tells Jeffries that most people look out at other people’s lives instead of their own.

STRANGERS ON A TRAIN (USA 1951) ***** Top 10

Directed by Alfred Hitchcock

In this flawless film adaptation the Patricia Highsmith novel, two strangers on a train, tennis player Guy Haines (Farley Granger) and Bruno Anthony (Robert Walker) talk about swapping murders when Bruno actually carries out his part of the bargain.  Guy’s trampy wife is murdered so that he can wed Anne (Roth Ronan) the one he really loves.  When Guy realizes what has happened, he becomes the prime suspect, while Bruno pressures him to carry out his part of the bargain.  STRANGERS ON A TRAIN is typical and perfect Hitchcock, an innocent hero caught up in intrigue with a smashing climax at the end of the film with hero and villain battling out on a runaway merry-go-round.  There are many classic scenes in this film – like the villain popping a kid’s balloon at a fair with his cigar; the villain entertaining gossipy old ladies with the notion of murder; a suspense laded tennis match and a strangling viewed through the lens of fallen glasses.  There is also the additional bonus of a prize performance by Hitchcock’s daughter, Patricia Hitchcock as Anne’s spritely sister who steals every scene she is in

TO CATCH A THIEF (USA 1955) **** 

Directed by Alfred Hitchcock 

There is hardly any suspense in this lightweight romantic comedy thriller but the sinister Hitchcock touches are still present – the stubbing of a cigarette butt on an egg; the dropping of a casino chip into a lady’s bosom.  The story concerns a reformed thief John Robie (Cary Grant) aiding Lloyds Insurance finding the real burglar and clearing his name of recent jewel thefts.  In the meantime, he meets France Stevens (Grace Kelly) who falls in love with him and his past, and who believes him to be the real thief.  Hitchcock’s foray into sophisticated comedy is interesting enough with sufficient humour scattered evenly during the film.  Shot in the Riviera, the scenery is stunning, matched only by the gorgeous costumes worn by Kelly.  The costume ball at the film’s climax outdoes any real life fashion show.  The extended car chase scene blends suspense and humour as the Master had redone in his later movies NORTH BY NORTHWEST and FAMILY PLOT.

TRUFFAUT:

L’ENFANT SAUVAGE (THE WILD CHILD) (France 1969) ***** Top 10
Directed by Francois Truffaut

Shot in black and white, this apparently simple looking period film is a masterful look at the behaviour of human beings.  The true story of a boy discovered in the wild and educated by a professor played by director Truffaut himself.  Truffaut is well known as a kind director and this film shows off this trait off at its best.  The boy is taught manners, the alphabet and finally the difference between right and wrong.  The climatic scene in which the boy is punished for doing right is one of the most brilliant and moving segments ever captured on film.  Also in the picture is the professor’s housekeeper, Madame Guerine who shows exceptional kindness to the boy.  An altogether most wonderful experience at the movies, THE WILD CHILD is one of the best films of all all time about kindness.

JULES ET JIM (France 1962) **** 

Directed by Francois Truffaut 

Based on the semi-autobiographical novel by Henri-Pierre Roche, JULES ET JIM (JULES AND JIM) is the definitive best film ever (before till even the present) of a ménage a trios.  Jules (Oscar Werner) is married to Catherine (the informidable Jeanne Moreau) but carries on a friendship with Jim (Henry Serre).  Catherine also loves Jim.  Jules is willing to allow Catherine to divorce him and marry Jim so that he will not lose her, as he cannot satisfy all of her needs.  The villagers call the 3 of them lunatics but these are the happiest lunatics one will ever see on screen.  And this makes one of the happiest films Truffaut has ever made.  Despite the relationship problems, when things are right, the three have a really good time.  Catherine is spontaneous to a fault – sporting a moustache and pretending to be a man; jumping into the river but everyone (audience included) cannot help it from fall in love with her.  The film tracks their relationship from the first meeting, through the Second World War, through the marriage and after.  The soundtrack by George Delerue is also amazing and has been named 10 Best soundtracks of all time by TIME Magazine. 

LA MARIEE ETAIT EN NOIR (THE BRIDE WORE BLACK) (France 1967) ***** Top 10

Directed by Francois Truffaut 

My personal favourite Truffaut movie and French film of all time sees sultry siren Jeanne Moreau do away with the 5 killers who accidentally shot her bridegroom on her wedding day.  Julie methodically tracks them down one by one and kills them without remorse.  Truffaut gives her femme fatale more human feelings than necessary as she almost falls in love with one of them.  Five of France’s most popular actors of the time (Claude Rich, Charles Denner, Jean-Claude Brialy, Michel Lonsdale) play 4 of Julie’s victims, and to me a delight to watch all of them on the screen again.  This film is Truffaut’s tribute to Hitchcock after he interviewed and the Master of Suspense wrote the book Hitchcock.  Using Hitchcock’s frequent composer Bernard Hermann, the film has the complete Hitchcock feel.  Truffaut has been described as the kindest of film directors and this film illustrates why.  He does not let the innocent characters die.  The cleaner who steals and drink from the bottle that holds the poisoned liquor is emptied by Julie.  When the school teacher Julie impersonates to do away with a victim is arrested, she calls the police to prove her innocence.  THE BRIDE WORE BLACK is unfortunately Truffaut’s least favourite film as he had a big argument with his cinematographer on the look of this movie, but to this critic the film is still near perfection! 

TIREZ SUR LE PIANIST (SHOOT THE PIANO PLAYER) (France 19  ) ****
Directed by Francois Truffaut

One of Truffaut’ more obscure but no less impressive feature, SHOOT THE PIANO PLAYER follows the adventures of a bar’s pianist, Charlie played by French singer Charles Aznavour after his bother runs to him for hiding.  The film is part thriller part romance but i is the little details of the film that creates the charm and magic f his sensitive film.  One scene has Charlie contemplating whether to ask Lena (Marie Dubois) to have a drink r to be more subtile by asking her if she was thirsty.  When he immediately turns to her to utter by mistake, “Let’s go for a drink,” she has already walked off.  The execution of musical numbers like the rendering of “Framboise” also does the trick.  Aznavour is no great actor, by Truffaut milks the charm that has made this singer so famous.   Again, the are lots of shot of women’s sex long legs here as in his oner films.  I saw the film only once 20 years ago and was not really impressed then, but am now.

 

 

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

THE DAUGHTER (Australia 2015) ***

festreviews 2016 movies, movie, Movie Review, Uncategorized , , , , , , , ,

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

the_daughter.jpgTHE DAUGHTER (Australia 2015) ***
Directed by Simon Stone

Starring: Geoffrey Rush, Sam Neill, Anna Torv

Review by Gilbert Seah

Based on the Henrik Ibsen’s 2-act play ‘The Wild Duck’, THE DAUGHTER is Simon Stone’s gut wrenching drama adapted to a small loving town in Australia. It stars Oscar winner Geoffrey Rush who plays an evil father with a fondness for younger women and with no redeeming qualities. About to be re-married, his son (Paul Schneider) visits, only to open dark skeletons in the closet. This leads to things getting from bad to worse, leading to a suicide.

The film was shot in New South Wales, in an area of abandoned factories and logging forests in a soft light, like what would be expected in Denmark. Written also by Stone, the film is a compelling watch despite its over serious content that might turn out to intense for certain audiences. The play is simplified a bit, with the removal of a few characters but with no reduction in the drama.

Rush is always a pleasure to watch, even in the role of a much displaced character.

THE DAUGHTER is Stone’s first film, a little difficult to watch because of its content and a bit slow moving, made slower with a lot of slow option sequences.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com