Like listening to someone else tell you about their dream.
There exist in this sometimes sad world, moments that remind you that you are alive.
You know these moments well. Blood rushes from your toes to your cheeks. Or from your cheeks to your toes. Either way you are made aware of its movement.
A great energy is felt in your jaw and in the ends of each strand of hair. Your fingers curl. Your hands turn into fists or claws. Everything is hot. You shudder violently (the energy must be flung off or you will be eaten alive).
• Grace Wang in Toronto, whose four-part video interview with Chung is below her essay.
Lucky life isn't one long string of horrorsand there are moments of peace, and pleasure, as I lie in between the blows.
- Lucky Life by Gerald Stern
Ringing true to the poem the film is inspired by, Lee Isaac Chung's "Lucky Life" avoids the typical horrors of cookie-cutter narratives, and belies itself to moments of peace and pleasure that lull within its memory-shaped form.
There is a point in Homer's "The Odyssey" where Odysseus is washed ashore from a shipwreck.A young woman comes to his aid, rescuing him from his end. She was Nausicaa, lover of nature, and eventually serving as a mother of his rebirth. In Hayao Miyazaki's first masterpiece "Nausicaa of the Valley of the Wind" he heralds a protagonist of similar inspiration, whose own odyssey and heroism would take on Homeric proportions.
The 60s were a rough transition for America. Major shifts seemed to be occurring in every fabric of society from civil rights to sexual mores. The worsening course of the Vietnam war fueled distrust in political institutions. Women's rights highlighted a breaking from oppressive traditions. The old seemed to be fading away more radically than ever before.
Like the era it was made in, "Hud" was a key shift. As film critic Emmanuel Levy correctly puts it, it is "a transitional film between the naive films of the early 60s and the more cynical ones later in the decade." Though it plays as a compelling drama of small town life and family tribulation, through its lens of father-son conflict, it also captures the angst in the loss of authority, the gap between of two different generations, and an elegy for the good ole' days.
Behind every great fortune there is a crime. - Balzac
So states the prologue of Mario Puzo's novel, "The Godfather," a debatable statement that rings true nonetheless. It certainly feels like "the truth" after visiting this world. Does it mean that the Corleone family was completely amoral? Not at all, and that is what separates this material from just about every previous gangster film. This family provided justice and protection to those who couldn't get it elsewhere. They also gave them gambling, women and liquor--but heck, they did draw a line at drugs. If there is one thing that Mario Puzo and Francis Ford Coppola evidently were clear about, it's that black or white characters aren't particularly exciting.
The phenomenal success of the Godfather Trilogy can basically be attributed to the decision on the part of Paramount executives to put their helm in the hands of a master filmmaker at his very peak who also happened to be one of the few raised in a family with the precise sensibilities required to take the material from Mario Puzo's best-selling novel and make it feel absolutely real.
There are a few spoilers here. Because I am mentioning that there are spoilers, I am implying that there are things you do not want to know in advance, thus making you curious, thus lifting your expectations higher than they should be, thus making it harder for you to enjoy the film. So, enter at your own risk.
Occasionally I receive a paper from a student that is so outstanding in content and ideas, that in grading it I am compelled to overlook the shortcomings in argument, style and polish. Such is my experience with Christopher Nolan's "Inception." This movie is very ambitious, not only in the ideas it explores, but also in the expectations it has of its audience. In my estimation, having watched the film on a giant screen with a packed theater of cheering, laughing, and groaning moviegoers at a popular suburban multiplex, it fulfills its ambitions of big-budget intelligent storytelling.
When I observed the lifestyle of Ryan Bingham in Jason Reitman's wonderful movie "Up in the Air" early in this year, Lawrence Kasdan's 1988 movie "The Accidental Tourist" came to my mind. Like Ryan, Macon Leary (William Hurt) knows a lot about traveling around by plane. He can tell you how to pack your bag as small as possible.
The dissection of a real life legal case from every possible point of view may be the main subject from Barbet Schroeder's "Reversal of Fortune" but the heart of the film unquestionably resides in one of the most amazing acting performances in the history of cinema: Jeremy Iron's portrayal of Claus Von Bulow
The real Von Bulow was indeed convicted to a thirty year term for the murder of his socialite wife Sunny, played by Glenn Close, but the movie, without taking sides, does make it clear that his sentencing was somehow influenced by the court of public opinion in which everybody believed Claus was guilty, he had to be, he certainly seemed like a man guilty of something.
"Film is the medium that gives room to our fantasies, most of the time harmless, since they are fantasies. The cinema is often more beautiful than life, if only because we write the screenplay." - Leconte
The Hairdresser's husband (1990) is a film so fantastical, so sensual, so romantic, that you can not help but sigh in ached longing...a longing that, deep down, you know is untouchable, but how good it is to be drenched so thoroughly in it in a French hairdressing salon, on sunny afternoons and stormy nights?
Dreamers. Lovers. However they came to be we do not know, and it does not matter. They are so content together, indeed so happy that they seem immune to the ravishing of life's toil. Passion consumes their lives. The day begins with it, and ends with it.
It's quite easy for someone to enjoy film. Loving film is completely different. For those who see films enjoy them, yet only those who can read film truly love it and understand it as an art form.
Hitchcock is probably the most well known director of all time. There is no absolute answer to what his crowning achievement is. A lot of critics prefer "Vertigo." Taste varies from one film lover to the other. "North by Northwest", "Notorious", "Vertigo", "Rear Window", "The Birds", "Shadow of a Doubt", "Strangers on a Train", "Rebecca", "Suspicion", "The 39 Steps" and "Psycho" are among his most loved.
The truth is there is no such thing as one ultimate Hitchcock masterpiece, there are only favorites.