Category — Real life
BRONSON could just as easily be known as “TheShow.”
After discovering The Pusher trilogy (1996-2005) I became increasingly interested in director Nicolas Winding Refn. All three films were incredible, both as stand-alone narratives and as an interwoven mega-story. Since watching those films I’ve often wondered – aloud and to myself – what else the Danish director had cooking. Enter Bronson (2008): a confirmation of Refn’s talent, Bronson is a beast of a film. As the titular character, actor Tom Hardy brings his A game. His performance as Michael Peterson – the man who would become “Charles Bronson” – is the stuff of cinematic legend, and I doubt he’ll ever have trouble getting work from hereon out. He lets it all hang out, and is an absolute demon in this film, as volatile as it comes: one moment he’ll rip off your arm and the next he’ll have you in hysterics. Refn reinforces the fact that he’s a directorial talent on the rise with this kinetic piece of film, which at a brisk 93 minutes never once wears out its welcome. It was recently announced that Refn wants to direct the Wonder Woman film. Watching Bronson this bit of information might leave you scratching your head as to why, but I think DC and the powers that be should take a gamble and let him. I’d bet the farm the end result would be anything but boring.
July 5, 2010 No Comments
BURDEN OF DREAMS is a lesson in humility that every aspiring filmmaker should see.
In Hayao Miyazaki’s Princess Mononoke, we are offered a glimpse of the Forest Spirit: a towering giant embodying the surrounding landscape and every living thing within it. If there were an analogous Film Spirit, it would no doubt look like Werner Herzog, the subject of this 1982 documentary by Les Blank. The charismatic Herzog embodies the history of cinema itself: the larger than life bravado of Samuel Fuller, the eye for detail of Stanley Kubrick, and the spirit of magic and alchemy of Alejandro Jodorowsky. In his quest for “essential truth” Herzog has made pilgrimages to islands evacuated due to erupting volcanoes, to the flaming oil fields of Kuwait, and to the wilds of the Amazon, where he first shot his masterpiece, Aguirre, Wrath of God, in 1972. This documentary concerns Herzog’s return to the Amazon to make Fitzcarraldo, the Quixotic tale of a man who dreams of bringing opera to the jungle. Like many “making-of” documentaries, Les Blank’s camera captures the usual problems – like Mick Jagger and Jason Robards bowing out of the film at the last minute, or investors balking at the mounting costs. But there are unusual problems as well – like a civil war between local tribes, or natives believing Herzog to be a god and offering to kill cantankerous lead actor Klaus Kinski for him. And of course there is the Sisyphean task at the heart of Fitzcarraldo, in which a 340-ton ship is pulled over a mountain – a feat which Herzog insists on creating without special effects, underscoring the similarities between himself and the character. This fusion of dreams, reality, and fiction is typical of Werner Herzog, and it’s what makes his movies (and this one) so transcendent. As Herzog puts it, movies and other forms of expression “might be the inner chronicle of what we are, and we have to articulate ourselves, otherwise we would be cows in the field.” If only the people filling our movie theaters and TV’s with franchise bullshit shared his viewpoint, we wouldn’t be feeling so… bovine as of late. Long live the Film Spirit!
June 11, 2010 No Comments
First Ronnie James Dio, then Gary Coleman, and for the last of the “it happens in three”… Dennis Hopper. May God smile on you and your glorious acting career. Should this triumvirate arrive at the pearly gates at the same time, who goes to the front of the line? I’m betting on D.H.
We honestly had no idea where Sicilians came from before this memorable scene from the definitely-worth-another-viewing movie, True Romance:
And make sure to re-read our review of another of the many memorable Dennis Hopper performances, in Space Truckers.
May 29, 2010 3 Comments
MARQUIS is the other, lesser known “puppetry of the penis” movie.
1989’s Marquis is absolutely riveting, and so visually striking it’s like nothing else you’ve ever seen. Henri Xhonneux directs from a script co-written with Roland Topor, who was screenwriter of the animated classic Fantastic Planet and Polanski’s The Tenant. The characters in this film are played by dancers in full costumes and elaborate masks (sort of like the ones in Garbage Pail Movie but not as creepy, being less human-like). Their movements are subtle and hypnotic and weave a spell around the viewer, which when synced up to the overdubbed dialogue lends everything a sing-song-y quality. It works on some profound levels – I’m no psychologist but I can tell you there’s something deeply unnerving about watching a curvaceous body in a dominatrix costume sporting the head of a horse! The two main characters are the Marquis and his penis, and they spend a lot of time locked in prison, discussing various philosophies, among them the appeal of holes in nearby walls. And as you find yourself sucked in to this bizarre world where the photography is lush and the camera lingers on an adorable little penis face urging its master to take him out to play, you’ll no doubt feel several mixed emotions, many of them wrong – but in a good way.
May 21, 2010 2 Comments