Why? 1. 1980s action flick from Japan. 2. Bad English dubbing that not only doesn't match up to lips, but changes samurai to ninja. 3. Quotable lines like, "Show me your crystals." 4. Bad special effects on the level of Power Rangers. 5. Competent fight sequences (martial arts?--awesome!) 6. A guy with no pants and short tunic. 7. Over two hours of enjoyment. 8. Soft rock theme song. Just watch the trailer:
I don't know what it is, but songs about 16- and 17-year-olds are incredibly creepy. Probably because they are obviously sung by men far too old to be hitting on or to be with teenage girls. Here's a fine playlist of of some "hits" about teenage girls:
Enjoy the creepy pinkness of this widget.
1. "You're Sixteen You're Beautiful (and You're Mine)" Johnny Burnette--Why is it so creepy: an obvious fascination with childish and little girly things like ribbons and curls. Also, putting a girl on a pedestal proving that he's not really into talking to her/finding out if she has a personality.
2. "Sixteen Candles" The Crests--Why is it so creepy: emphasizes the youth of the subject (the birthday girl) and wishes for reciprocated love even though he's probably about ten years older. Ew.
3. "Only Sixteen" Sam Cooke--Why is it so creepy: Actually, this one isn't creepy because it's sung from the perspective of a 16-year-old boy. In fact, it's rather sweet (16?). I just included it to break up the grossness.
4. "I Saw Her Standing There" The Beatles--Why it is so creepy: "You know what I mean."
5. "Seventeen" Foreigner--Why is it so creepy: Assumes a girl of 17 is capable of playing games with someone's heart in some sort of mature manner--although she was probably trying to get out of this controlling/emotionally abusive relationship.
6. "Seventeen" Winger--Why it is so creepy: I owe the discovery of this song to Pajiba's "The Dark Age of Metal." Just watch the video in that post and be creeped out by the hairy creepiness of 20-something rockers hitting/preying on 17-year-olds.
So I was searching YouTube for some scenes from A Walk in the Clouds* when I happened upon this:
The combination of someone piecing together the most dramatic (cheesiest?) bits of the film to one of my all-time favorite Mariah Carey ballads** is just brilliant. I can't decide if I want to puke or just love it. Needless to say, I did not continue my search. This video encapsulates everything you could ever hope to glean from A Walk in the Clouds.
*Also known as the Great Film of the 90s. **Remember when she was awesome?
Baz Luhrmann--you either really like him or really hate him. I fall more into the like category, although the more I watch his Red Curtain Trilogy, the more I discover things that I don't like his directing. Last night I attended a Baz Luhrmannaloozathon* and I finally watched all three in one night. Almost overwhelming. I will say this: his films are viewed better in a group that will react/make fun of/sing along with/question the movies.
Strictly Ballroom (1992)
I know I've written about Strictly Ballroombefore, but it was fun to look at the beginnings of Baz's directing style. Some of his trademarks (cliches?) found include post-production slo-mo, lots of sparkles (most of the costumes in this film), the Coca-cola sign that later turns into a L'amour sign with a Coke logo in both Romeo + Juliet and Moulin Rouge!, quick edits (although not as frenetic in this film as his future ones), and yelled echoy key line ("WE LIVED OUR LIVES IN FEAR!").
I find this to be Luhrmann's most accessible film--if you can get past the ballroom dance world. It's editing/cinematography style is mostly unnoticable and allows the actors to shine. In fact, highly emotional scenes don't end in screaming lines so it's like the characters mean them/know what they're saying**. There is an element of the fantastic in this film, but it's just real enough that it's easy to go with.
Romeo + Juliet (1996)
The last time I saw this, I was in 9th grade English, and after 7/8 years, it's still crazy. The beginning is fun, full of quick zoom-ins, visual puns, and fast edits, but things soon devolve into screaming, dramatic close-ups, and slow-motion. In other words, it starts weirdly awesome and then starts to suck. It's Casino but with young teenagers. Examples: Casino beginning vs. Romeo + Juliet beginning. They both start out awesome. And then this happens: Casino screaming at minute 2:20 (warning lots of language) Romeo + Juliet Avenging Mercutio at minute 8:50. Screaming rarely gets the point across if that's all that's happening. In fact, I quit paying attention. And in Baz's case slow-motion following screaming is too manipulative to actually be moving. We don't see the character change or realize a mistake, the camera makes it obvious for us. To be fair, I hate Romeo and Juliet as a play. I have no sympathy for the main characters since they're stupid. Yeah, they're young, but that doesn't mean I can't be annoyed by them. I can't even stand the leads in West Side Story (speaking of Romeo and Juliet remakes), but at least the side characters make up for it***. Stupid star cross'd lovers.
And the fact the Leonardo DiCaprio and Claire Danes can't handle the material doesn't help. The Hot Fuzz version isn't too far off on how I view the two leads' abilities, although they are prettier. Some of the actors actually do rise above the crazy editing and actually deliver lines (even when the only direction is "just scream it"): Pete Postlethwaite as Father Laurence, Harold Perrineau as the cross-dressing Mercutio, John Leguizamo as Tybalt, and Vondie Curtis-Hall as Captain Prince. Other highlights include a baby Jesse Bradford as Balthasar and 50s golden boy Paul Rudd as Paris (both part of some great teen movies).
Though the fact remains that Shakespeare's works are all about the language. Dressing it up distracts and detracts from it. In this case, you don't need to listen to the words at all to understand what's going on. It could have just been any other story or done without the beautiful language. The saving grace of this viewing was talking over it with othe people.
Oh, and the key line screamed: "A PLAGUE ON BOTH YOUR HOUSES!!!!"
Moulin Rouge! (2001)
I've seen Moulin Rouge! a ridiculous number of times. I could probably recite it for you. I'm not even that big of a fan, but it's just great entertainment. And it's where Baz's insane style comes to an apex and somehow works. The first 30 minutes are overwhelming with color, editing, slow-motion, computer graphics, quick introduction of characters, sexual innuendo, and of course sparkles. Once the film settles, it's becomes humorous, dangerous, and tragic.
Somehow the goofiness of this film works. I think it's because of great music, competent actors (has Nicole Kidman ever had this much personality on screen), and a setting that's as transient as the editing (meaning it makes sense). And after you watch it enough times and often enough, you don't even notice all the craziness. Plus, the emotional ending is enhanced by slowing down the editing and keeping a take going for more than 2 seconds so the actors can actually emote (imagine that!).
And really, I think I would like this film even if I only saw "El Tango de Roxanne." Jacek Koman's gritty voice combined with intense/sensual choreography is unbeatable. Here's a version the just focuses on the dancing scene (no splicing with the Duke and Satine):
And just remember: "THE GREATEST THING YOU'LL EVER LEARN IS JUST TO LOVE AND BE LOVED IN RETURN!!!" *If you want to see how dorky I am, here's my friend Shuana's post on the night. I'm the overly enthusiastic one. **Yeah, I'll rant about this later. ***Anita being intense and somewhat reasonible. And Maria being lame.
This is my 4th winter in Utah and I finally got to see a Sundance film. My awesome friend ke had an extra ticket, and of course I obliged. We saw Nollywood Bablyon which gave an overview of the 3rd largest film industry in the world centered in Nigeria. The main focus is on the filmmaker Lancelot who has made more than 150 films. From there, interviews with Lancelot and others bring to light some of the issues and concerns in the Nollywood cinema business. Implications/influences included poverty, religion, a need for local film, and a desire for film as art.
More than anything the film gave rise to ridiculously deep conversations while trying to grapple with some of the issues the film raised. I'm still thinking, so here are some thoughts:
1. Can cinema as art exist without wealth? It seems that the beginnings of cinema and those in the avant-garde movements were independently wealthy. In such a poor nation/continent, can art for art's sake exist? Is it practical when money needs to be made? Is art an important commodity?
2. The film touched on religion being a focus in many Nollywood films. A mixture of traditional, Christian, and witchcraft seem to be regular themes. While the film obviously explored religion as a business in such a harsh economy that fueled the film's themes, is there something to be said about religion in film? While the Western world seems to be focused more on secular topics, aren't religious topics worthy of exploration as well? Will religion in film always look cheesy and cheapen religious messages?
3. Speaking of cheesy, honestly, many of the clips shown in the documentary from the films looked cheesy as hell. Like, Chuck Norris/Steven Seagal film cheesy (that you pick up at The Dollar Tree) with a dash of Lifetime. I wonder if they look cheesy to the intended audience and if that matters.
4. Technology dates films terribly. That's why sci-fi rarely holds up. Many of the film clips showed special effects (of mystical/religious significance) that looked terrible. Just imagine McGyver explosions. Again, does that poor technology matter for the intended audience?
5. I am extremely Eurocentric and know little about Africa. I think I boiled down my knowledge of/exposure to Africa to this documentary, Hotel Rwanda, the beginning of Roots, and The Poisonwood Bible. What I know: Africa is poor and corrupt. Colonialism ruined everything. There is no obvious/easy solution.
I would like to learn more, but the implications of trying to actually "know" anything about such a different place is discouraging. So summarize, the whole list of Stuff White People Like.
6. I think expressing yourself through any medium is important. I think what Nollywood is doing now is important. I don't know if it's "lasting" (such a quick and prolific industry), but there's something about creating your own anything that is part of humanity. Being able to identify with something outside oneself is helpful, builds communities, and asserts one's importance as a person.
7. This film is fascinating, full of information and a culutre I've never known about, and for that, it's worth viewing.
AKA the one that Lenny asks, "Isn't that our fan?" about.
You got to give it to Lost for casting peoplethatlookfamiliar, but aren't quite famous enough to place--unless you've seen the movie that they're a minor character in about 23498 times.
Side note: Sean Whalen is also in that Got Milk? commercial about peanut butter and Aaron Burr shooting Alexander Hamilton---AKA my favorite federalist. I'm seriously part of this facebook group.
Why?
