Inside Llewyn Davis
"Inside Llewyn Davis" is the most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it…
Seongyong Cho was born in Jeon-ju, South Korea. He did graduate work at the Korean Advanced Institute of Science
and Technology (KAIST) in Dae-jeon. His passion
for good movies continues its primitive rampage, which includes weekly pilgrimages
to the local multiplex. He started his blog in 2008 and writes nuumerous reviews. In the midst of that, he manages to find time for
books, music, exercise (usually treadmill and swimming), and corresponding
with other bloggers.
"'Will you walk into my parlor?' said the Spider to the Fly." - from the poem "The Spider and the Fly" by Mary Howitt.
The crucial moment in George Sluizer's chilling psychological thriller "The Vanishing"(1988) can be summarized with that quote. The Fly cannot resist the offer, simply because of his intense desire to know. The Spider cannot resist making an offer, only because of his cold curiosity about the result. He has a solid prediction based on his careful calculation, but he wants to know the result in his cruel experiment, like he previously tested himself before.
When I went to the Jeonju International Film Festival in this April, I was reminded again that the old theaters at the downtown of my hometown are gone. Most of them are now replaced by a bunch of multiplexes, and I can't say the old theaters were better than their replacements. While there were the big theaters where I could enjoy movies like "Independence Day" or "Starship Troopers," I remember too well how shabby several theaters were in early 1990s, compared to the current standard; I am happy with the comfortable seats, nice bathrooms, and agreeable viewing condition in multiplex theaters.
Is it love at first sight? It's certainly lust at first sight between them in the beginning. Something clicks inside. They soon begin their secret affair, and then, motivated by their common desire to escape from the world they're stuck in, they hatch a scheme to solve their problems once for all. They have a good plan. They can succeed if they carefully tiptoe along the thin line they draw. However, in the world of film noir, it is usually easier said than done.
Like many tales about the good vs. the evil, the evil mostly steals the show from the good in "The Devil and Daniel Webster" (1941), a cautionary moral tale based on Stephen Vincent Benét's short story which is sort of a New England version of the tale of Faust. Though it was made 70 years ago, the movie remains as a darkly enjoyable movie with the wonderful moments that can both amuse and chill us with the subtle creepiness pervading its rural background. Sure, we are happy to see the soul of an ordinary American luckily saved from the eternal damnation in the end, but, folks, can we deny that we had a fun with Mephistopheles before the obligatory finale?
In the middle of Boaz Yakin's "Fresh" (1994), there is the crucial scene that gives us the insight into its hero's plan. While playing chess with his father, he learns a lesson. And then he applies its logic to the real world for his own purpose. However, in the world case, the game is not a simple matter of win or lose. A small false move can result in not a mere checkmate but a dour outcome for him. And (this is one of the most interesting aspects of the film) he is only a 12-year-old kid. He can do it, and we know that, but can he endure to the end?
While I heard the alarming reports coming from the Fukushima I nuclear power plant, an unforgettably intense sequence from "The China Syndrome" (1979) immediately came to my mind. An earthquake occurs without warning. The power plant is automatically shut down. They get a problem with the level of the coolant. The plant is on the verge of nuclear meltdown. The catastrophe of epic proportions may happen as a consequence.
As far as I know, "a mixed bag" is a negative expression, but I think that is an appropriately positive one in case of "Leaves of Grass" (2009) for its seemingly disjointed combination of crime story and philosophy. The movie throws such discrepant stuff into its plot that it could actually make a good shopping list: Latin, marijuana, Socrates, crossbows, poetry, bongs, Heidegger, family, catfish, Whitman, parallel lines, menorahs, swastikas, murder, and so on.
In the biochemistry class during my naive undergraduate years, the professor jokingly said the capability of metabolizing alcohol depends on our genetic makeup. Thanks to the variations in the genes, some people can produce more enzymes or more active enzymes to take care of alcohol in their body. They can be heavy drinkers, or the ones less susceptible to the hazards caused by alcoholism than their fellow drunks.
That may explain the existence of Charles Bukowski (1920-1994), the "laureate of American lowlifes" who lived a relatively long life despite many days and nights of bottles and women at the bars. As Stephen King says in his insightful book "On Writing," writing usually has no business with drinking ("Hemingway and Fitzgerald didn't drink because they were creative, alienated, or morally weak. They drank because it's what alkies are wired up to do."). Sometime there are exceptions like Bukowski. Drinking and writing always came together to him, and he had no problem with that.
I have a small childhood memory indirectly associated with Alejandro Jodorowsky's "Santa Sangre"(1989). I remember well about how it drew the attention of people when it was introduced in South Korea in 1994. One tagline was simple brutal honesty that I still recall with smile: "This is no doubt the cult!" And here is another nice one that makes my eyeballs still roll: "Today, You will be infected by the cult!"They were blatant enough to draw the attention from an 11-year-old boy, but the problems were that (1) I was too young to get the chance to watch it, and (2) my hometown was a local city far from Seoul. However, that was a blessing in disguise. They showed the audiences the butchered version with a considerable amount deleted due to local censorship. In those days, bold, controversial films like "The Cook, The Thief, His Wife, & Her Lover" were never introduced to South Korean audiences unless they were heavily chopped. You probably think it is kind of weird considering some uncompromisingly violent South Korean movies made nowadays, but it did happen a lot when I was young.
It's always difficult to put a play on the stage. Actors and crews work hard amid many setbacks that can happen on and behind the stage. If they are lucky, they will survive today's performance with descending curtain and some fulfillment. Then they will have to struggle for another performance tomorrow with today's performance faded into yesterday.
It sounds gloomy, but people in "The Dresser"(1983) stick together and try to go on while believing they are accomplishing something in spite of their mundane reality in and out of theater. At one moment, one character confides to the other about her life spent on theater business: "No, I haven't been happy. Yes, it's been worth it." Norman, played by Tom Courtenay, can say the same thing if asked.