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Reviews
Xiao cai feng (2002)
Is the ending as straightforward as it seems?
We showed this film to an audience of 30 at our Community Cinema here in Shrsophire, and were astonished at its wholehearted power and pleasure. The average rating was just over 9.
**** spoiler *** But what about the ending? None of us had read the novel, so were able only to make our judgements based on what we saw. Another IMDb commentator tells us that the seamstress's re-education via Balzac was life enhancing and that she was saved from a state of ignorance and isolation by it. And that is what most of us saw - but a couple of days later, I began to think again - such a message would hardly have seemed likely to get today's Chinese State's support, so would they allow it to be made within their territory? So,was she a fulfilled young woman, made "better" by Balzac? Which girl left the village before the valley was flooded - she did, but which one was happy and smiling, and even about being moved to a new site in the near future? Not the seamstress - she'd left with no goodbyes, no smile, no security, no company, no long hair, no money, no virginity, no baby and no pride. We heard no more about her than that she'd been sought out by one of the young men, who'd learned that she may have gone to Hong Kong. As what, though? We are not told. As a happy-as-Larry top class clothes designer perhaps, or as a sewing machine sales-person - or as a "lost soul" prostitute? I wonder if someone's got the definitive answer?
The Dresser (1983)
well worth seeing, 20 years on
The many other comments about the film say it all - just like to add that we showed it last week to around 30 at our Community Cinema, and it got an overall average score of 8.6. We'd 100% recommend it, then, for today's audiences, especially if they can see it on a real cinema screen, and can talk about it with others afterwards, as our audience did.
The sheer power of the acting performances by the whole troupe was incredible and quite spellbinding. Of course, Finney and Courtenay were truly the stars. but everybody was thoroughly well cast. For our afternoon audience, the majority of whom are "senior citizens", the fact that the plot could be followed with such ease because of the clarity of speech and the wonderful non-techy use of camera and sound was a great influence
How delightful, many said, to see a really great film that's British: still not dated twenty years on: not full filled with blood & guts: not confusing because of bob-about-all-over-the-place camera shots, and back and forth through time story lines: no seedy sex scenes. Such views were even uttered by some who were younger.
Wondrous Oblivion (2003)
delightful film that also engages the "thinking parts"
We showed this yesterday to the afternoon audience of our local community cinema, here in Shropshire (UK). None of us had seen it, but the IMDb reviews seemed to suggest that we should be brave and try it -how right they were.
Most of our audience, but not all, are over 70 years old, so they lived through the period that the film focuses upon, and some were even bringing up their own kids at about that time. One such said to me afterwards, "it's quite astonishing, I really had no idea that this kind of thing was going on in our England. Where we were living, it seemed a different world. It (the film) was just so powerful - an amazing experience."
This has to rank as another of those truly top class British films that addresses in such professional, sensitive, fearless, and powerful fashion the rather discomforting world of racism and bigotry (like "Secrets & Lies"). For this audience of people even more wrinkly than me to give it an average of 8.5 says so much for it. They despise the gratuitous violence that fills so much of today's screen-time, they disdain sex scenes that are sordidly porn-think, and they can't bear noise for noise's sake, so this (as a film that was definitely NOT just entertainment) was very special indeed in achieving an 8.5 rating.
Diarios de motocicleta (2004)
captures so many spirits
At home, we've now watched this beautiful film three times, and last night it was shown at our community cinema in Broseley (UK), which we help to run. On a big screen, with big sound, and in the company of others who couldn't help but enthuse, it was even more magical.
Nobody rated it below 7, and there was a whole battery of 10's average was 9.2.
Different people commented upon different aspects - the screenplay, the acting, the camera work, the attractive social ideals, the music. As a film to be watched by such as our little cinema's film-goers, it could not be bettered. The very stuff of good cinema that still can get people out from in front of that hideous box.
If you can put it on in your own little local setup, do not hesitate for a second. (Unless you happen to be in an ultra-conservative backwater of the US, in which case the film's suggestion that Che and those other evil Cubans may have had some good qualities about them could cause you cardiac damage.)
Caravaggio (1986)
It may show art, and artistically, but does that make it good cinema
One reviewer says of those who might not like this film that "it will only be appreciated by film goers who weary of film as diversion". This, I feel, is rather unfair to those of us who find it boring.
I have not become weary or disillusioned with film or with film makers, but found this tedious and self indulgent. But then, it's true, I'm not too big into deep meaningfulness. I feel that it may have great meaning for those in the know, you know.
It is very slow and it spends a long time in trying to make its individual points, using imagery, indeed, to do so. But in such days as these, it seems possible that a film like this might be the kind of thing that you'd come across in one of those dark and daunting booths in modern art galleries, rather than on the screen of a popular cinema setting.