apr2 Reviews

Blue Velvet (1986)

Frank Booth: the lynchpin of Blue Velvet.

[26 September 2002]

Blue Velvet was written and directed by David Lynch in 1986 and despite the commercial failure of Dune, which was his previous film, he was granted infinite artistic freedom during its production. This is remarkable when considering the failure of its predecessor, yet essential when considering the film's subjective, idiosyncratic and consequently curious subject matter. Despite self-assured performances from Kyle MacLachlan as Jeffrey Beaumont, the protagonist, Laura Dern as Sandy, the love interest and Isabella Rossellini as Dorothy Vallens, the femme fetale, it is Dennis Hopper who is truly the lynchpin of Blue Velvet as Frank Booth, the antagonist.

Booth is one of the most extraordinary manifestations of evil ever cinematically envisioned. He is unpredictable, coarse and violent. Nevertheless, he is also one of the most misunderstood romantic characters in contemporary cinema. Booth betrays bizarre moments of tenderness and hurt, which adds great depth to a character that would possibly be two-dimensional in less assured hands. Apparently Hopper clinched the role by informing Lynch: `I am Frank Booth.' A statement that seems truly believable in light of his undeniably brilliant performance as one of cinema's most curious, complex and corrupt characters. However, Blue Velvet is much more than the study of one character. While it is principally a detective story, it also displays themes including oedipal complexes, psychological tensions and a range of strange fixations and neurosis. Consequently it is an excellent combination of narrative and characterization. Blue Velvet did much to restore Lynch's reputation as a highly idiosyncratic director, yet one who could still tap into a well of darkness, perversity and neurosis, which is subconsciously masked by the familiar. It is cinema of the highest order and one of the best avant-garde films to come out of 1980's America.

A Clockwork Orange (1971)

A Clockwork Orange.

[26 September 2002]

The Brighton riots between the Mods and Rockers in the late 1960's influenced Anthony Burgess's A Clockwork Orange. It is one of the most acute, powerful and highly acclaimed novels of the twentieth century. In the vein of Brave New World and 1984 it tells the story of a distopian future, the perils of totalitarianism and the danger of ‘playing God.' However, when Stanley Kubrick brought the novel to life on the silver screen, the acts of violence displayed in the film were recreated by youths around the country and Kubrick was consequently forced to withhold the distribution rights. Nevertheless, the film was re-released posthumously.

The film follows the life of Alex (Malcolm McDowell) and his gang of droogs. They are a ruthless gang of four youths who steel, rape and fight their way through the film. However, when Alex is set-up by his disillusioned gang-mates and charged with murder, he faces a lifetime of imprisonment. Nevertheless, in jail Alex hears of a new aversion therapy, which allows him to be released, without threat, back into society. This, of course, has side effects. Alex is not actually cured, he is merely physically incapable of undertaking the criminal acts he reveled in prior to his jail sentence. The narrative, which is one of foreboding, is meticulously constructed to encapsulate the themes of the novel. The characterization furthers this and allows the audience to sympathize with the protagonist despite his flaws, which heightens the satire by revealing society's, rather than Alex's, failings. However, it is the script that mirrors the novel most lucidly. The language is a discerning blend of English, Russian and Cockney rhyming slang. Although it seems like gibberish to begin with, the audience slowly adjusts and becomes familiar with the prose. This mirrors the transformation experienced by Alex: at the beginning of the film he is a miscreant but he slowly adjusts and becomes familiar with the rules of society. The script therefore acts as a form of aversion therapy for the audience.

Consequently A Clockwork Orange is one of the most discerning, penetrating and sagacious adaptations from novel to film. It maintains the novel's narrative, characters and themes throughout. It complements the novel yet it creates an entirely fresh and stimulating perspective in a new medium. Kubrick's highly idiosyncratic style brings Burgess's novel to the cinema with the sensitivity, intelligence and unique aestheticism of no other contemporary director.

Life Is Beautiful (1997)

Life is Beautiful: A Modern Tragedy.

[25 September 2002]

Life is Beautiful is an inspired tale about the strength of love and the human spirit. It has been called a modern masterpiece. It is also one of the most powerful tragedies of modern time. Its death toll exceeds Macbeth, its beautiful blend of pathos and comedy mirrors King Lear, the death of the protagonist echoes Romeo and Juliet and the final feeling of catharsis is equal to that of Hamlet. Guido (Roberto Benigni) - a charismatic yet gauche waiter who's gifted with a vivid imagination and a seductive sense of humour - has won the heart of the woman he loves and created a beautiful life for his young family. However, that life is subsequently threatened by the German Nazism of World War II and Guido must depend on those very same strengths to save his beloved wife and son from an inconceivable fate. In 1999 Life is Beautiful won three academy awards: Best Actor - Roberto Benigni, Best Foreign Language Film and Best Original Dramatic Score. Honoured with this staggering level of critical acclaim, Roberto Benigni's Life is Beautiful is a completely unique motion picture that will elevate your spirits and captivate your heart.

2 or 3 Things I Know About Her (1967)

Two or Three Things I Know About Her.

[25 September 2002]

Godard rejects his `all you need to make a film is a girl and a gun' theory in Two or Three Thing I Know About Her. The 'her' refers to Paris rather than the female protagonist and the only gun apparent is a toy that belongs to her son. The inspiration for the film came from an article on housewife prostitution. Godard consequently examined his theory that to live in Paris (in 1966) one had to prostitute oneself to survive. The narrative is shot through the eyes of Juliette (Marina Vlady), a Parisian housewife. She prostitutes herself weekly in the vain hope that she will be able to buy happiness and escape the high rise Parisian suburb where she lives with her husband and young son. Two or Three Things I Know About Her is a skillfully composed visual essay. It is an astounding collage of images that acknowledges the transformation of modern society into a technological monstrosity. As the principal strength of the French New Wave, Godard created a masterpiece that comes across as revolutionary and modernist over thirty years subsequent to its conception.

Breathless (1960)

À bout de souffle.

[9/10 · 8 May 2002]

In my opinion this is Goddard's Magnum Opus. The narrative is outstanding in its accessibility and its originality. The characterization is sublime in its subtle, matter-of-fact portrayal of Michel Poiccard (Jean-Paul Belmondo) and Patricia Franchini (Jean Seberg) and the direction is second-to-none, despite a limited budget.

À bout de souffle works with, yet conflicts with Hollywood in many ways. It displays accessible characters through an accessible narrative and on the whole it agrees with the Hollywood conventions of time, space and linearity. However, Goddard employs some original techniques never seen before in Hollywood. Belmondo talks to the camera freely, which heightens the audience participation, the characters openly converse about sex, which creates a degree of verisimilitude and the protagonist dies, which heightens the tragedy at the film's conclusion.

If, like me, you thought Goddard was being crass when he said, "all you need to make a film is a girl and a gun" then watch this film and you might be pleasantly surprised.